(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 Hot Fuzz, starring Simon Pegg, Nick Frost, Jim Broadbent, and Timothy Dalton, written by Edgar Wright and Simon Pegg, and directed by Edgar Wright. Welcome back to Rise Smile Films, it's time to wrap up this buddy cop cast. It's been a pretty good five-week cast, and Deadpool and Wolverine definitely fit the bill, right? This has been a fun one talking about, so I think some films that we absolutely had to discuss lead the weapon, big summer film, some fun Beverly Hills cop in there, and now wrapping up with one of my all-time favorite movies, and a director we've never discussed, you know, intently on the podcast before, Edgar Wright's Hot Fuzz. I don't even know if we've really talked about Simon Pegg and this kind of triumvirant of creative forces that these guys were doing in the in the ots. - Yeah, but you'd said you had seen a little of this, but like maybe not all the way through, so we did this the Rise Smile way, which is get you raw reaction. I can't wait to talk about this movie with you and all its little eccentricities. - Yeah, there's plenty of them, absolutely. But gonna open up a new bottle this week, we have Hudson, this is the Hudson Whiskey, do the right thing, do the right thing, right? - Yep. - We've had Hudson, they've changed their bottle before. - And we've done this one before in some version of it. - Yeah, we think we've done the regular one, and I don't know if we've done the rye, but they've redesigned their bottle and their label. It's a little more kind of like modern. So let me pour some, get you some here, and I want to read the back here, 'cause they kind of allude a little bit to what we should be experiencing. - Right away, I smell peach, is that a thing on there? - Let's see here, that spills so much. So do the right thing, we did it, New York's first straight rye whiskey in nearly a century, and it's in a style all its own, bold and spicy with notes of citrus and honey, and a bright mint finish. Do the right thing is as iconic as the classic New York slice. - It's called that peach, the citrus piece. It's definitely there, it's all over that. - And I don't think we've had a rye in a while, so. - Cheers, brother. - To that. - Oh, nice finish. Oh, there's that honey, do you know, I get that. - Nice and sweet, not too harsh. - Nice bottle, Jesse. I don't know if I got the, I smell mint. - Yeah, I get that, that mid-level palate is just straight honey. - Yeah, interesting little rye here. - That's pretty good. - Yeah, I was looking at, I was like, you know, the rye, I'm always, the intensity factor, right? It's always kind of amplified, and it's a little more, you know, that corn-a-corn taste, and can't even tell you the last rye that we had, but, you know, I'm always bought, the way I shop for whiskey sometimes, I try and find like the price range, that like 35 to 50s, like my sweet spot, but I'm also in it for the bottle too. Like, and you get me like a uniquely designed bottle and I'm intrigued, right, but yeah, excellent. Hey, well we got a ton to talk about today, let's get this started with our flight question. (upbeat music) (upbeat music) - Adam Ant? - Goody-two, goody-two. - I feel like every week in this cast has let us down some sort of music rabbit hole, whether Glen Fry, or Bob Seger, or Googoo Dolls, or who was the first, or Eric Clapton, right? - Heard him, yeah. - It's been kind of interesting the way the music's kind of put into all of these films, but it's kind of, you know, goes hand in hand with I think a cop movie, right? Piggybacking a little bit from last week, and you know, we had such a good time playing fantasy, casting with the X-Men universe, and we did allude to a little bit in that episode of, you know, why don't we take this a step further and cover some other decades. So today's film has nothing to do with the X-Men, and this is the last time we will talk about them today. Possibly, possibly, possibly. But I thought it'd be fun to venture back to this, so question, same as last week, you're gonna cast your X-Men lineup, whether five members, six, however many you want, and we picked two different decades this time. We had the '70s and '80s last week, and now we're gonna do the '60s and the '90s. So I took the '60s, and you, Mr. Gen X, you're covering the '90s for us. - Thank you for that. If Ethan Hock doesn't show up in your thing, I'm gonna be a little upset. - He's gonna show up. - Okay. Let's do it like last week, round robin, just fire one off, and then I'll follow. - Number one, let's come up with the lead. I'm right at the bottom, do Xavier. I think without him, the team doesn't really work as well for me. And I don't even really say that that's my favorite X-Men, but they have to have a leader, and I guess I lean in pretty heavily to the student piece on this. Maybe that's 'cause of what I did for a living for so long. - Mm-hmm. - Ready for this? - Yes. - I think this could be really kind of weirdly awesome, and I'm drawing on another film that I don't wanna tell you yet, but I'll defend it with that in a minute. - Okay. - As Professor Xavier, I want shaved, stoic, wise, in control, Robin Williams. - Mm-hmm. - Take the character that we see him play in Goodwill Hunting, and move in that direction. A little bit maybe what dreams may come, a bit more introspective and a bit more controlled. - Yeah. - And I think you're gonna have to get the hair and all that right, and I know that's a big leap look-wise, but you can do it, just shave the head. - Yeah. - And I think I wanna see Robin Williams as Professor Charles Xavier. It could be an absolute, this cast I'm about to build for you could be really good or it could be a complete disaster. - Okay. - So that's starting for me. - I'm buying in because the first thing I thought of instantly, I hope not, I don't wanna steal any of your thunder, but I'm thinking that both society- - There's that too. - Headmaster, authoritative, yet endearing, and that teacher quality, I mean, he can do it, absolutely. - Yeah, you're right, we're not doing the X-Men, we're not gonna let him, we're not gonna give him an inch and he takes a mile, which he's amazing at. - Can't do. - Not the type of film, but I absolutely see it. Great, great pick. - Yeah, thank you. - Do you have Xavier? - I sure do have Xavier. - And this one too, you're also gonna have to kind of buy in on the bald factor with this guy, we gotta get that looking right, but man, if I want an authoritative teacher parental figure that's gonna lead my, oh, and here's the thing, I dash it, so I'm covering the '60s, I actually built my lineup based on the original X-Men lineup. So I have a Xavier and Magneto, and then I have a Scott, Jean, Bobby. Bobby Drake, Beast, and Warren, Warren, Warren. So the original lineup, but leading this team, Mr. X, Professor X himself, give me Gregory Peck. - Oh, yeah. - Atticus Finch himself. - God, I love that. - Yeah, whether it's Cape Fear or that, or the Guns of the Navarone, his Steely Pipes, just kind of scream authority. And I think he would probably look good, pretty bald with the suit, leading the team of X. I feel like the students would listen to him, right? And then to put him up against my bad guy, I think is worth a ticket into of itself, so. - Oh, I hope you go where I'm, I hope you're gonna go with this. - Okay. - I don't know, I don't know if I heard you right, but you're gonna love my choice, you're gonna love it. - You're giving me some, all right, we'll get there in a minute. - Yeah. - Good choice, dude. - Thank you. - I like it a lot. I like our Xavier's. - Pretty good start so far. - So as much as I wanted to do the same thing, that you did the base X-men character, I just felt like I couldn't put this character in there, and be authentic to my X-men team. So I'm gonna stray off the beaten path of the original. - Oh, that's fine. - Just somebody that's often panned on this show for the amount of acting that he does in makeup, but I wanna see him in this makeup for this. - Johnny Depp. - As Nightcrawler. - Ooh. Kurt Wagner himself. Let's see. - I think-- - He'll pull it off, he'll be all in. I don't know if it'll work or not, but he'll be all in. - I think, why not? Edward Scissorhands, I like that movie. I mean, it's, if you're tabbling into the uncanny and the weird aspect of the X-men, you're casting the perfect person for that. - Yeah, I think that's where, yeah, let's go there. - Good choice. Yeah, it was hard for me. The reason I kind of went with the original lineup was on the '60s. - I couldn't imagine a gambit in the '60s or something odd about it. Excellent. - Well, then I get to say mine to the original X-men cartoon series. - You got a magneto in your lineup? - I hadn't, but I can, yes, I have one now, but I did, but I have one. - We'll save him for the end. - All right. - All right, so rounding out my team, so I already alluded to, I have a Scott Summers, Mr. Cyclops himself, give me Warren Beatty, '60s Warren Beatty as my Cyclops. Good looking, gonna have to lead this team. They're gonna rib him all the time. Those early X-men comics are always giving Scott a hard time for just being like Mr. Boy Scout, right? It's just, especially the two people I'm gonna have, Warren and Bobby Drake or just give him hell all the time. - Yeah. - But I'd love to see Warren. I feel like he's gonna be the leader of the X-men. Warren Beatty was like the it guy in the late '60s, right? - Yep. - Splinter in the grass, Bonnie and Clyde. So he's my choice. - It's funny that that came up, I was talking about Splinter in the grass this week, it's weird that you brought that up, but I love Warren Beatty in that role, and I think he's got, 'cause the way Cyclops looks, especially in that original version, it has to have that jawline, and doesn't he have the square jawline to match? - I feel like he's got the stature. - The glass, give him a pair of glasses, Ruby Quartz, and... - To stand up and pull it off. That's a good choice, dude. I like young Warren Beatty. - Me too. - I really do. - Yeah. - I love it. - Who do you got next? - Mm. Let's go the female parts of my X-men. - Okay. - And I'm gonna hit Rogue. Not one that I usually would cast, but I would like to see Miss Uma Thurman play the role of Rogue. - Interesting. - Yeah. - That was pretty good. - I think that she is the Betty Davis of the 90s, and if you don't know what that means, then you haven't been listening to the show weekly, 'cause she comes up quite often. I just think that that character presents some interesting possibilities, and I like Uma Thurman in that role, and yeah, I buy it. - Good choice. - Yeah, Uma Thurman. - Yeah. - It's about time for her to show up on screen again, isn't it? - Absolutely, I was the last thing I saw her in was a house that Jack builds some, what the hell is that? Lars Von Trier, film with Matt Dillon, speaking of-- - Weird. - Is he good? - It's pretty off-putting movie. But that was the last thing I remember seeing her in. Excellent, well, I'll go to my female counterpart. I only have one this week, 'cause she was the only one for many a year. Jean Grey herself. Give me Catherine Ross as Jean Grey. - Wow. - Yeah, the graduates, Catherine Ross. - Stepford-wise. - It was hard. I didn't wanna get someone just so Raquel Welch, right? I mean, or just the obvious. I wanted to kind of go a little off the-- - So feel her in. - Yeah, a little off the beaten path, a little more independent. And once I started thinking about it, I was like, not Ellie McGraw, but, and that's a little, it's more '70s. But like, Catherine Ross, mid to late '60s, her and Beatty together, I totally see Jean and Scott. - That's such a great cat. That's such a great pairing, Jesse. - To that mid toast on that one. Love the two of them together. Good job. - Yeah, stepford-wise, right? I mean, we're getting into the '70s, but a graduate, '67, so here we are. - Butch Cassie and Sonette's good. She's good at playing the girlfriend. - Oh, I like it. Good job, man. - Thank you. - All right, well, if I got rogue, then I have to go gambit, don't I? - Yes. - So then it's gotta be Leonardo DiCaprio. So we've got Robin Williams, Leonardo DiCaprio, Uma Thurman and Johnny Depp. - And Leo's gonna do a voice. He's gonna nail that Cajun Creole X. - And actually, that was part of what sold me. I think that the voice of that character is important, and the other choices in there, I didn't think could pull that off in a way that I would believe it, but I do believe it with Leonardo, 'cause he's two master of his craft, so. - Have you ever seen "The Quick and the Dead"? - Yeah. - He's kinda doing a Southern Cajun thing in that, and it's right around this time, too. He's like early '20s, '19, maybe? - Yeah. - Good choice. - Thank you. All right, Matt, who do you want? Bobby Drake or Warren Worthington? - Thanks. - Funny, because I'm gonna do both of those two next as well. So what let's do our Bobby's, then we'll do our Warren's, and then we'll move on from there. - All right, Bobby Drake, I need kind of like Smarmy, I need, you know, sort of pathetic. Someone who's gonna be a little irritating, but also can give, you know, a heartfelt performance when it matters. I couldn't think of anyone, Matt, but Sal Minio as Bobby Drake. - Oh, perfect. Perfect. That poor guy. I would love to do one of these days, rebel without a cause, because I think there's a lot to talk about there, not just in the Minio camp, but the James Dean of it all, Natalie Wood of it all. Really interesting film to me, but an actor that got into, you know, a lot of substance abuse, you know, made a lot of bad decisions, you know, probably, you know, had to be closeted homosexual, that wasn't accepted at the time, right? And died really young, kind of tragically. So the kind of the career that could have been if given the right opportunities, right? I think he'd be giving a little blonde hair. I don't know if Bobby Drake has to be blonde. I think he'd be whatever in my movie, but give me Sal Minio. - That's such a good choice. Okay, so yeah, if you're gonna go the route of children, then I sort of did the same thing too, and Bobby Drake is the petulant brat of the group, not in a, I don't wanna, not in a Logan kind of way, but just bratty. - That's appropriate, yeah. - All right, ready for this one? - Yes. - Kieran Colkin. (laughing) - Right? Not Mccully, 'cause he's batshit. - Yeah. - Can you, let's get on set for these cast that we have right now. - Yeah, this would be wild. - Yeah. - Great choice. - Yeah. - Kieran Colkin, yeah, I think he's had, you know, his first role was fuller and alone, right? Terrific career after that. - Got something that I'm really interested in right now coming out, or pretty soon to Jesse Eisenberg, two of them together. I forgot what the title of that film is, but coming and talk about, like, Eisenberg, if he was a '90s actor, would have been absolutely spot on perfect. - Almost too weird. - Michael Sarah, but, you know, they're available, so. - No, I love Kieran, that would be great. - Yeah. - Succession, speaking of Edgar Wright, Kieran Colkin is terrific in Scott Pilgrim versus the World. - Yes, he is, good call. - Good choice. We've never talked about him before, other than Fuller wetting the bed. (laughing) - All right, I think we've got Warren's and Magneto's left. - Oh, and a beast for me. - Oh, I got that too. - Yeah, so Warren, Warrenington, 60s. I would need some kind of counterculture with mine, a little bit of Beatnik. I want Russ Tamblin as my-- - Oh, yeah, hell yes. My cast is pretty strange, but-- - No, it's beautiful. - It fits the era. Dr. Jacobi from Twin Peaks himself, right? - Chutz, chutz. - 'Cause he's bratty like Bobby, but he's got money to back it up, and I can just see that coming from Tamblin in his little curly hair, like just really just zinging it. And then those two giving it to a baby, I would just love to see that on screen. - Oh, so good, Jesse. - Thank you. - I like your team. - You're Warren, Brad Pitt. I think for me, Angel is the G-boy, the pretty face of whatever mutations, like the wings and just the glory of what that looks like. - Yeah, it just, to me, from the minute we said boo, it was Brad Pitt. - Ben Foster in X-Men The Last Stand and kind of-- - Doesn't work at all. - Under-util, I love Ben Foster, but underutilized, they didn't know it. It was just another character shoved down in an already bloated movie. - Throw 'em off, yeah. - Excellent. Well, let's get to the beast. Mr. Hank McCoy himself around this time. And maybe we can kind of do something like with Nicholas Holt then like, my beast isn't gonna be blue, it's gonna be more kind of classic brutish. And I kind of want a young Jack Nicholson as my Hank McCoy. I'm talking like Roger Korman, easy rider era Jack Nicholson. Kind of wild, a bit of a wild card, but can embody that beast. It was just more beastly and it doesn't have a color to boot. - Yep, that was only-- - No hair, you want just mutated, big feet trapeze, smooth that beast. - Yeah. 'Cause that came later, a lot later. - Much later. - Seven to eight seventies. - That's good, man. - Thank you. - Okay, we're adding a very toxic element to this. So that apparently is really hard to work with on set. Anthony Hopkins. - Mm. - Boi. - As your beast? - Yes. So with that, I know that there's an age thing now, but if I'm in the nineties, that's, you know-- - Signs of lambs? - 30 years ago. And I actually do want him in blue, full fur. - Oh, if you're doing it in the nineties, yeah. Maybe you gotta be blue. - So we're in the middle of an absolute shit show on set now. My play on screen, but we are on middle of a shit show. - Excellent, excellent, yeah. Well, that just leaves Magneto. The most important part of this thing, the casting. I had another actor in here, and then when I was just kind of looking at actors, I was like, oh no, it has to be this guy. My Magneto, Christopher Lee himself. - Hell yeah. - It's like a Gregory Peck versus Christopher Lee, and I was just trying to imagine like the Ian McCallan, Patrick Stewart, like conversations that those two actors could have. The brass and these pipes against the stoicism of Gregory Peck, Atticus Finch versus Count Dracula. Give it to me. - Give it to me. - Yeah, I love that. - Thank you. - Oh, can we make the-- - Do we make this? - Do we make this to next? - Can we make this to next? - Yeah. - Okay, so I'm gonna do somebody that we've never seen on the role of villainy before that I know of, but I think they could pull it off. - Okay. - Tom Hanks, finish up his Magneto. That 90s version of Tom Hanks, that sort of cast away Philadelphia, that version of him, little bit leaner, a little bit suppressed, a little bit angry, I think at the height of his acting powers. - Absolutely. - Back to back Oscars, if I'm not mistaken, right? - Yeah. - Did you win for both of those? - Philadelphia and Forrest Gump. - I am. - And then cast away in there too, which-- - Paul 13. - Killing it. - Private Ryan, Toy Story. - Keep going. - Yep. - That's who I want. - Fantastic. - The closest thing we've seen him play a villain, is it Road to Perdition? - Probably. - And he's not even a bad guy. I mean, he's just, Paul Newman is Frankenity. That's what, that's an odd film. - That's an odd film. - I like that movie. - I do too. - Daniel Craig, Jude Law. - Yeah. - That's a good choice. I like to off the beaten path choices. I mean, I wanna see this person step into those shoes and see what they could do with the material. - Mm-hmm. - That's great. I mean, we could just keep doing this decade by decade, but I had a lot of fun with this one. I was just like, this is kind of a ragtag, uncanny mutants I got going on here, but I wanna see it. - Yeah, that's good. - Excellent, excellent. To your list. Any other else or was that about it? - No, that's good. - I'll give you my alternate one. Before it was Christopher Lee, I had toyed with Kirk Douglas. - Well, Lee just fit better, right? I mean, the stature, that six, five man and Magneto's classic garb. I mean, that sounds fantastic to me. - Yeah, excellent. Well, to your list, we're not gonna do it again unless we're talking about another X-men movie people. - Probably should leave them alone for a few weeks. - Yeah, let's leave the X-men. 'Cause then we end up talking for three hours. I couldn't believe we did that last week. Three hours are the longest show thus far. Three hours on Deadpool Wolverine, but hey, we got a lot of fun stuff to talk about this week. Hey, let's get right to it, our review breakdown of Hot Fuzz. - No, I'm sorry, I'm gonna have to-- - You wanna take this higher? - Yes, yes I do. - You want me to buy the Chief Inspector with this? - Yes. - You want me to get the Chief Inspector to come all the way down here? - Yes, I do. - Okay. - Kenneth. - Hello, Nicholas. - How's it? - Still a bit stiff. - Chief Inspector. - Keep your seat. - Now, I know what you're going to say, but the fact is, you've been making us all look bad. - I'm sorry, sir. - Of course, we all appreciate your efforts, but you've been rather learning the side done. - It's all about being a team player, Nicholas. - You can't be the sheriff of London? - If we let you carry on running around town, you'll continue to be exceptional, and we can't have that. You'll put us all out of her job. With respect, sir, you can't just make people disappear. - Yes, I can, I'm the Chief Inspector. Well, however you spin this, there's one thing you haven't taken into account, and that's what the team is going to make of this. - All righty. Simon Plague plays police inspector, Nicholas Angel, essentially London's super cop, so good at his job that the work and the percentages and the evaluation factor of all his coworkers is just so down here while he's up here, so they're like, we gotta even this out, we gotta get this guy out of here. I love this montage that they gave him here, because when I think Simon Plague, I don't necessarily think like action star or like action guy, but they build a montage for him right at the beginning. And this is one of the first times I've ever recognized this was the opening shot of film as this kind of long haul way, him walking down and he does like a close up of like his face. It's like dusk out there. This is the first guy at the police station here. I mean, he's getting there before anyone else does, so he can do 10 other people's jobs before they even get to the police precinct. And then he's a master and you beat the 40R dash, advanced driving, advanced cycling, some nice kind of tongue-in-cheek moments to kind of show how over the top he is, and his good-natured police skills. What do you think of that? And what do you think of Simon Plague? 'Cause I don't think this, but the film does a terrific job of making me, yeah, why not? I mean, the super cop. Yeah, that's a great way to put it super cop, leading the precincts of England and arrests, and the fastest time on this, and the best marksman, and top of his class on all of the things he's done, and just driven by the right to do justice where he needs to carry out that endeavor. Almost a bit annoying. How good he is at it? Yeah, because he ends up being robotic and statuesque, and that's a little bit of where the Danny character comes in. Obviously, not a little bit, a lot. Look, man, yeah, I would've never thought Simon Plague would play this straight, this well, but he does, and you end up really believing that although he may not have the stature, like physical stature, to pull it off, he is so dedicated and diligent in the craft that he just cares more than all the other cops, and so I buy it. Not now, it's a harder sell for me now with Simon Pigg than it had it been early on in his career, which is not a negative statement towards Simon Pigg, it's just what we know Simon Pigg to be. Sure, yeah, to further that point even more, making me reconsider the space that I see him in and pull it off works exceedingly well. Yeah, Simon Pigg, you know, and I'm not sure what he's working on now, but it's a bit of a dry spell, but if you think about maybe talent unrecognized, and that comes up from time to time with us, wrote this, plays the main character in this, and was smart enough to team up with Edgar Wright of all people to do it with, Von Speck, let's just raise it up there for a minute, to Simon Pigg, I know we have Run, Fat Boy Run, and all the other. He's got a good recurring part in those mission and possible films as the cue aspect of those movies, but yeah, I'm with you, I mean like, and he's never really played that, 'cause even Scotty and the Star Trek reboots, which are I think are pretty great. I do too. Scotty's still kind of like a bumbling oof, right? This is so straight man, police guy. I really did, they do a great job riding him, and this time watching it with you, I was, you know, this film kind of does the Ghostbusters things for us. This film hits all the beats kind of exactly when you want to, that speech from Bill Nighy, that you're inciting incident of the movie is, this is like, look, you're too good, you're making us all look bad, you're being relocated. That's the question of the movie, right? So now we're on this fish-out-of-water journey with, you know, Nicholas Angel, as he's MetroCop now city country rural cop. It's a perfect setup, and this film moves quick. By 10 minutes, I mean, we're at the pub where he's arresting these young vagrants, and we're hitting all those marks. Even the reversal recognition at the end with this dendral chamber of secrets, kind of retwists the movie, kind of at the right point, right before act three, right? I mean, it's, I had never really thought about that in the space of Hot Fuzz, but it's structured almost perfectly. You know, we're gonna get to this a little bit later on, and I don't want to do the reversal recognition, but I have to tell you something, and it's gonna be a nursing conversation in the latter half of the podcast when we get to that part of the film, I think, between us. From the beginning of this film, there was a wicker man. - Yes. - Almost feel to it, not only in the police force, but certainly in this little rural province that he ends up having to monitor, there's a very odd, almost cult-like drawing, and I picked, this is the first viewing for me, everybody decided, but this first time I've seen this film, interesting that I picked up on that before the reveal is shown to be, like he kind of is put in the middle of this township cult, this village cult. - Absolutely intentional. - Yeah, for sure. - Yeah. - Yeah, Edgar Wright is very much a student of film. There's so many references in this, to other action movies, to other characters. I mean, there's even a throwaway line that like George was an extra and straw dog, so like just out of nowhere, but absolutely. I mean, Simon Pegg even kind of looks like Edward Woodward from the wicker man, this kind of like receding blonde hair, this cop thrust into this cult society who's offered up as like this pagan sacro, virginal sacrifice, that would be a good movie to do one of these days. - The wicker man. - Oh yeah, the original, that extra dog. - I'm glad you picked up on that because it's very evident of what's kind of going on here, story-wise. - There's something about cult movies, and even as much as we've been as hard on paranormal three as we, paranormal activity three as we have been, there's something that is very, very off-putting about them, even hereditary. That's not kind of revealed until later, but whether it's Rosemary's baby or the wicker man or hereditary or this. Something inside of me that hits a tuning fork and it moves me out of my middle comfort zone, either a little right or left, not politically, but like out of that one standard deviation away from comfort of viewing into a place where I just, I feel a little sick. - Yeah, well I think it's also why you like, something as, you know. - Midsomar. - Yeah, midsomar, or even something like The Mist. I mean, what ends up happening in the supermarket is almost cult-like as they rally around Mrs. Carmody, right? Yeah, there's something about a collective. - I'll tell you we showed Ava that movie a couple of weeks ago. - Really? - She was all in. - Yeah, and the ending, killed her. - I can't kill anybody, right? - Yeah. - Good, awesome, that's a great choice. - Yeah. - There's something off-putting about, you know, a group of people that can rally, you know, people sinking around a certain idea. In this film, it's gonna be, we must have the most perfect societal foundation imaginable. And any, you know, abnormality outside of that does not fit our cause, has to be eliminated. - Yeah, there's something a little off-putting here. So this is a buddy cup film, absolutely. This is also a little horror film, too. - A little bit, yes. - There's a bit of a slasher element later that I have a village ask to a certain degree. - Yeah, oh yeah, yeah, multiple people playing the part. I wanna backtrack a little bit, and that montage when he gets stabbed by Father Christmas. I gotta mention this 'cause I just think, I love the little just touches in here. That's Peter Jackson, director. - Oh, really? - He's playing Father Christmas there. So friends with Edgar Wright, I mean, yeah, I'll complete Santa for a second. - A shot, a still? - A shot 'cause, you know, we're buds in this kind of interesting, hot, you know, filmmaking movement. - Was this '04? - '07. - '07. - '07. - Good guess. - So that's what I wanna talk about is, you know, how I came to find this movie because there was two movies going through high school, especially in like '04, '05, that just everyone was talking about would not shut up about, and one of them was Napoleon Dynamite, the other was "Shawn of the Dead." And I was like, well, what's this "Shawn of the Dead?" You see it, and I was like, wow, that's, you know, pretty refreshing zombie comedy. Never really seen that. This is years before I discovered "Dead Alive," Peter Jackson's "Dead Alive," the evil dead stuff. Pretty refreshing. The title's great. Simon Pegg's really great in the Nick Frost. They're both really good in that. And you kind of pick up touches of Wright's style with editing, filming, visual humor. There's a lot of really great, just visual, the scene that always jumps out. And I think "Shawn of the Dead" would be a great combo on the podcast because I love 2/3 of that movie. And the last act, I just, I tune out. Something happens to me in the last half of that movie where I'm just like, all right, I was just like, let's wrap it up. I kind of get what we're going to. And something doesn't, has never worked for me in that, which is wild. - As bad as like the jerk? - Maybe not that bad, but in a way where it's just not, I don't hold "Shawn of the Dead" in as high regard as I think a lot of other horror comedy film fans do. - You know, we propose a lot of casks on this show that we will never get to. - Absolutely. - But that would be an interesting one. - Yeah. - "Third Act Failure" cast. - It's the same thing that also happens in the other film of this trilogy, "The World's End." - No, don't get me started. - I think that's a fantastic premise. I think the first two, and then once they introduce "Pierce Brosnan" and this kind of spoiler alert, alien kind of invasion, which should work, something really falls apart in the last half of that movie. But I don't, I totally recognize right as this kind of interesting, fresh voice. So I miss this movie in the theater. And so this was around the time when I'm really discovering, I have a job and I'm spending my well-earned money on just movies. I'm like going to Best Buy, I'm going to Hastings, I'm going to Target, and I'm buying anything I can consume, and I'm blind buying a ton of stuff which is risky, right? I mean, if you buy something, it's like, well, this is shit, resell it for half my value, right? But this was a blind buy, and I remember the trailer and the trailer moment here was them jumping over the fences. Like, I remember that from the trailer of just like a great moment of comedy. And so I remember I watched this at my grandparents' house who were just visiting them and I had it in the afternoon and it kills like, I'm bringing hot fuzz, I'm going to watch hot fuzz. It's an hysterics in the living room watching this thing. Like, no one's watching with me, I'm just watching this and I'm like, how did I miss this? And I gotta share this with other people and just showing friends and just showing more people around me. Do you get it, do you get the humor? It's kind of British humor, but it's not Monty Python British humor. It's still relies on the visual, a lot of wordplay, a lot of referential humor. But I think it's still very accessible. And just kind of all around just, you know, really well made from beginning to end. So, and then I've always been paying attention to Edgar Wright. I mean, he's had a very interesting career to me. So World's End, I mean, I was very disappointed with that movie at the end of the day. I think it still has its moments. I mean, the two, one of the Andes, Bilbo, and then there's like that group of friends, Pubcrawling, what a terrific premise for a movie. And then after that is Scott Pilgrim versus The World, which is my second favorite Edgar Wright film. I love that movie. And then Baby Driver, terrific, right? Ding, ding, ding, yep. And then, but the story that Edgar Wright that we never got to see that I'm endlessly curious about is his failed venture into Ant-Man. Yeah, left the project like when it was well on its way into development. I'm pretty sure he cast Paul Rudd. I mean, that thing was ready to go. And a lot of the stories you hear about Marvel is just like it's a factory and got to fit in these parameters. Yeah, and how does Edgar Wright's kinetic editing ferocity fit into the Marvel studio machine? Honestly, it was probably a good divorce for both parties because he'd have wanted to Josh Tranck himself. Yeah, 'cause he would have had to have made an Edgar, but I'm telling you, had he done it, that's a top tier superhero movie if he gets his hands on it, a unique take into Ant-Man. Yeah, I think you're right. And the stories around that were spectacular. I think it was a nice, nice film with quite the planet. And we still got some of that in Ant-Man. So I think some of the seedlings that he planted did grow in what we saw. But of all the Marvel properties that I can think of, that one, Ant-Man, would be the best suited for his directorial and screenwriting personification. Yeah, his style, yeah. We didn't get it. And who knows what happened between him and Feige? Look, this is where we're gonna go. And to both of their credit, I think they recognize that it was a necessary divorce. And there wasn't a lot of bitching, ugly, this, that, but they just said it's not gonna work out. And to Edgar Wright, I also wanna give him a shout out to tackle Ant-Man is no small fee, indeed. Because-- No pun intended. Yeah, I didn't even mean to do that, but see what happened there? Yeah. Branna for Thor is ambitious and arguably kind of broken and but yet sort of still somehow works. I can't think of an Avenger that would be more difficult to do than Ant-Man. Your power is to get small, so then what do you-- And talk to Ants. So, you know what makes sense then? Let's find a way to steal some shit 'cause you can't be seen. And then let's hire someone who's made some quirky shit, right? I mean, that style fits, you know? You gotta lean into the weirdness of Ant-Man and have some fun with it. I've searched a little bit online for the remains of whatever he turned in page wise. And boy, that is lockdown, tighter than you can-- Fort Knox, right? Yeah, Fort Knox levels of lockdown 'cause I would love to see-- Me too. Just even the tempo on the page of what his beats look like. Yeah. There's a lot of alternative, could've, would've, should've, movies in Hollywood. That one's very close to the top for me of, I just wanna see what that would look like. It wouldn't look like any other Marvel studios movie. It would kind of look like this movie, but with Ant-Man. It would just be fast and silly. And can you imagine that Michael Pena character who's terrific in there, but in the hands of Edgar Wright's writing, the way he's able to kind of slice out words? I mean, that's, that's a, and I kind of wonder if that is a little Edgar Wright that kind of got left over. The flashbacks that he tells about those stories feel like it, does feel like it, but we didn't get that. And hell, even Simon Pegg would've been a good-- Yeah, man. I mean, they went to Scott Langrow, but Simon Pegg is Hank Pym. I buy that. Sure. That would work. Sure. Find a little part in there for Nick Frost. He could've done it. Yeah. And just make another one of these movies, but no, it's interesting. I think he's an interesting voice. And whenever one, another of his films gets announced that-- What's next? I don't know, actually, but I'll be there. Yeah, sure. Much like Mr. M Knight, I'll be there. So too, that real quick. Off Mike, we talked about this, but it did see Trapped last weekend. You don't need to be there for that one. OK. I don't need to attend that. The Happening is the worst. This is number two. It's bad. Bad, bad, bad. Real bad. Oh, Knight, what are you doing? He'll fuck up a couple more, and then he'll find something and sneak us back into his grid graces some point. Only to backhand us a third time. The Shyamalema Ding Dong family had a bad summer. Let's just put it that way. Yeah, absolutely. His daughter didn't do well either. Absolutely. So we learned a little bit about Nicholas. Super cop, but he can't even hold a steady relationship down because he's so tied to the force. I like this scene that he goes and visits Janine, his ex, Kate Blanchett I shared with you. So just sneaky little cameos in this movie. And I love the moment where he's talking to her outside the wall and he's like, what's the situation here? And he's like, two people, domestic quarrel. And she's talking about the crime scene. But he's talking about them, right? And he's like, are you talking about here or us? And that's that type of humor I really like, where the writing is so refined that, yeah, it is. They're talking about their own fucked up relationship. And there's some nice little comedy banter there. But he's essentially in a relationship with the Japanese piece. I love it. I do too. Yeah, simple. But off he goes to Sanford Gloucestershire into the country, this mundane town. And I'm glad you thought Wicker Man, because when him coming into this town, similar, darkly lit Sanford, you're just seeing like the headlights of the car hit the signs. It's very ominous, very mysterious. And he ends up at this bed in breakfast because his cottage isn't ready yet. I like that touch at the end of the movie, his exiting, his cottage at the end. But I get a lot of Ben Mears, Salem's lot vibes of him staying at this bed in breakfast with this cantankerous old lady, right? Yeah. And this word play between the two of these, she's doing a word search. And she just called and she just says fascist and he's like, I beg your pardon. Did you call me a fascist? Hagg. Yeah. And he's like, oh, thank you. I'll be able to find the room on myself. Hagg. I beg your pardon. And then they kind of give it to each other a little bit later throughout the movie. So Edgar writes really good. I mean, a student of screenwriting. There's a lot of call back set up in the film. You know, we talk about the rule of three a lot, setting things up two times to pay it off for a third time. We get that. There's a really great kind of comedic banter with this bumbling doofus of a constable here who's always asking, well, what's the plan, Sergeant Angel? And he's like, well, we're going to seal off the roads, cordon off this. We're going to interview the people. And we're going to figure out what's going on. And then in the finale, it's that guy coming up with the plan to give it. So the rules are reversed, right? Just little, little, little things like that. But he can't stay in this room. This is too boring for him. So off to the pub, we go and we get this. Excuse me. What? When's your birthday? 22nd of February. What year? Every year. Get out. Hey. When's your birthday? Oh. 8th of May, 1969. You're 37. Yeah? Get out. When's your birthday? Oh. Out. Is there a problem officer? Yes, there is, Mr. Porter. It would appear a number of your patrons are under age. Well, you would have made me a month or two south of proper. But if they're in here, it starts in getting into trouble out there. Yeah, the way we see it. It's all for the greater good. The greater good. State. Go ahead. The greater good. Yeah, let's keep it in here. That way they don't create trouble out there. It's the kind of the theme of the film book. Another great terrific moment of comedy. That shot, I even had to just point it out to you to make sure you got it. Which was, he gets blind by this kid's braces. It's so hyper unrealistic that it's funny, right? Yeah. In what reality would you get blinded by the sheen of someone's braces but just showing, yeah, this kid's like 15. I have an a beer in the pub. I mean, 18's already crazy, right? I mean, I'm not here. But I love about this is after he kicks out all the patrons of the bar, there's no one left and the couple that runs the pub are forced to realize like we have no more business. But there's really two ways to look at that. Number one is, this is, sorry, Sergeant Angel's wreckage in the pursuit of righteousness. And then there's the underlying current of, are this mother, father, husband, wife duo upset because now they realize what's going to have to happen. And that's just more work, which is they're going to have to kill these kids. Not to let the cat out of the bag, but they're going to realize that later in a pretty interesting third act that I can't wait to get to. Don't you feel like the angel dilemma is really well delivered by right? It's what got him kicked out of London. It's what's moved him to the middle of BFE nowhere to tackle missing swans and cats and trees and broken fences with, you know, rocks or whatever the hell sort of provincial rural debauchery he might be able to toil at as he fiddle fucks around with nothing. But at least he's not bothering us. It's really, really well done. And he finishes that and we set up something else that's also really important. As he kicks the patrons out of the pub, he goes to mainstream media. That's going to play a pretty important role later in the third act. So we're setting up a lot of really things. We're continuing the processing or the teaching of the audience of some challenges internally and externally. I want to call him constable. That Sergeant Angel is going to go through. And we're also helping define not the fish, but the out of water as well. That's really important. You have to show how the fish struggles out of water. But then you've got to show what the out of water is so we get it. And you build a relationship with that as well. You end up building a really strange town. Everyone appears very friendly and they just have a very different way of going about business. Let's do that real quick because if you haven't tuned in in some time, we haven't sort of defined that. It's just a screenwriting principle to fish out of water. If you take a fish and remove them from their environment and put them somewhere else, you watch the fish flounder, struggle, gasp. Not to be grim because we don't want the fish to die. But I mean the goldfish who cares, I guess, whatever. It's screenwriting premise wise. It's like this unfamiliar environment. How do you get accustomed to what you don't know when you can't even breathe without nearly suffocating yourself? My favorite fish out of water story, back to the future. Marty McFly goes from an 80s, he knows to a 50s, he doesn't know. So yeah, taking it and making it unfamiliar. But what's hopefully been ingrained, and this is where the good writing traits come in handy, is you've written a main character that you're willing to see go through that journey and I'm willing to see Marty McFly try and figure out a way to get back home. Captain America. And I'm willing to see Nicholas Angel try to be super cop in Sboringsville, right? How's he going to make the mundane even more mundane? He's going after swans. I mean, he's going after people just, you know, spray painting. I mean, these aren't even like murderers yet. Exactly. And what needs to happen in that is you have to decide as the writer, if you want the town or the out of water, quotes around, out of water, to acquiesce to the fish, or does it go the other way? And like Castaway, also a fish out of water film, literally. Literally. Literally. The environment is not going to acquiesce to Tom Hanks. So he's got to figure it out. In the case of this, this steel balled, blue balled cop who knows no other way than what the laws of justice say in the book that he holds in his pocket, probably next to the Bible state, who is unrelenting and has cost him essentially every relationship that he's ever had. How is he going to be able to get an entire town to sort of recognize how important not only justice is, but the administrative piece of justice, the paperwork, the imprisoning people, the not evidence. Their evidence is empty. The locker room that no one has been into, and it's essentially doubling as like a storage place. Like how do you get the police force that really doesn't want to do any police work because they claim to live in the most the safest village in the country? Yeah, exactly. How do you get them to do police force because in this quaint little rural province village as we find out later that they're going to call it. It's one claim to fame is we're peaceful and crime free. Well, you're going to start the administrative process of doing a better job of taking the paperwork and giving notation to those crimes. Well, then you lose your one claim to fame, but steel ball, blue ball, you know, hiding behind the cross of righteousness. Sergeant Angel shows up and who gives in first. Yeah. And that that's the premise. Exactly. And where it really succeeds and writes hands is both of those things are happening. And the question then is is, because you're far more familiar with this film than I am, is the most important. I'm glad we're doing this right now. Yeah. Is the most important piece of this film for external and internal conflict for village and sergeant? Yeah, Danny. Absolutely. Go with that. Yeah, because yeah, I mean, this is the buddy cop cast. I was going to bring this up. Oh, what a perfect time. Yeah, you need someone who's polar opposite to Nicholas Angel to really draw drastic comparisons. He's the chief inspectors, you know, you know, dimwitted, you know, lazy drunkard son. He's about to drunk drive here away from the pub. And his version of policing, yeah, absolutely, thumbs up on Hudson whiskey and wine. His version of policing comes from film. This guy's a movie buff. This guy's like us. I mean, he, he, he reads the gospel of point, break, die hard. The last cast of movies is this guy is policing Bible, which is a horrible Bible. If you're going to be an actual police officer, because this is not how it actually goes. Like a point break t-shirt. There you go. Yep. Very apt, right? Yeah, you need to have someone on the polar opposite almost a complete doofus, almost the Luca Stallo to the butt habit. The straight man, you know, to the funny guy, the Laurel and Hardy. And it's one really thing, good thing I've liked about their partnership is they tend to fit those roles so perfectly. Sean of the dead, this one, and then in the world's end, they kind of switch it and frost is the straight man and pegs the wild card. But here I think is where it works best, where you got this guy, Law and Order. He's shrinking cranberry juice at the pub. Oh man, give me a break. Give me a break. That's right. It's poor city. And you got this other guy who's hopefully over the course of the film, he's going to learn a little bit more about being an actual police officer. Yeah. But he's going to soften the super rusty rough edges of Nicholas Angel. You need a drastic counterpart to this. I think, and I think Nick Frost gets a lot of comedy out of it, but also a lot of heartfelt, you know, emotionality out of it too. This is a great tandem together and really good friends off screen too. So that helps. They even have in a weird sort of rom-com way, the meatcute that happens. We come to find out that the introduction from Angel to Frost occurs at the pub and Frost is pissed drunk, trying to drive home in the car, which later is this big wide-eyed moment when you come to realize like, oh my God, that was a cop. And the trouble that he's going to get in is going to be desserts, ice cream. We're eating cake today and Angel, why are we eating cake at this time? Well, one of our cops messed up and this is how we punish them. And by the books, brass balls, cop is like, what? And then we find out, no, no, no, this isn't for the drunk driving. This is for another thing. I don't even remember what it was. It doesn't matter. He forgot his helmets. Oh, there you go. He forgot his, yeah, he forgot his cop somewhere. Boy, you know, what happened if you turn off the body footage, Cam, and beat the shit out of somebody, what do you get, like, the Faye with... You get to go to first. Banana sun, banana split. There you go. So the punishment that's given to these cops for the abdication of what they're supposed to do, of the right or the just, is dessert. Are we then Jesse not incentivizing to do bad police work? Sure. Yeah. I mean, we get to have desserts. I mean, and then this cadre of, cadre is a perfect way to put it. Police people. I want to talk, because I already mentioned one of them, the kind of doofus who doesn't know how to, like, scan a crime scene, who has his moment later. But then you have future Oscar winner Olivia Coleman in this film as Doris Thratcher, who is the police woman officer who has been around the office of time. This woman cracks me up. She has some fantastic one-liner. She's going to win an Oscar for the favorite just a few years ago. I think she's in one of the Marvel movies recently, too, actually. She was in secret invasion, woof. And then you got this other guy, this old guy. You can't even understand, he's like gambit talking, he's like marbles in his mouth. And then his dog, Saxon. And then you have Mr. Jim Broadbent, the guy from Harry Potter, who turns into furniture. Slugworth is a Willy Wonka. He's the one in charge and he's kind of putting up with this. And then you have the two Andes. I love those guys because they know they're a step above and they're not afraid to let anyone know it. But they're just, they don't want to do any work either. They just want to sit in that office and just dick around. Yeah, what type of police force is this? But the question is, does this town even need a police force when no crime, no, our biggest issue is the living statue? It's so mundane and I think it settles in really quickly for Nicholas Angel. He's like, fuck, I am fucked here. I mean, he goes to like the neighborhood watch Alliance town weekly meeting. We're talking about statues here. I'm used to like going into with riot gear and just busting down a drug apartment. I mean, this, what am I doing here? Yeah. And the guy that really brings this home for me, secret MVP of this film, man, Timothy Dalton is terrific in this movie. His first lines of the movie are, I'm a slasher and I must be stopped. Come again. I'm a slasher of prices. My discounts are criminal, catch you later. Runs away from him. Oh, God. So good. You know, I'm a big T-dalt fan. I do. That's Bond. He's like a secret, dark horse, like, favorite bond for me. I think he needed one or two more films to really solidify his tenure as the character. And it just like Fleming, theatrically trained actor. I mean, this guy is like big on stage and can play villainy really well, a film that could almost fit into wink, wink. Our next task is the rocketeer. And he plays a mustache twirling villain in that movie too, a secret Nazi actor who's kind of like a Clark Gable. This mustache. It's a perfect way to describe him in Hollywood circles as like a modern day Gable. Gable. Yeah, that's great. And he's got a terrific stash in this movie too, where they're hiding right and the writing is hiding nothing about T-dalt in this film. This guy's the capital V villain from the word go and you know it. And everything coming out of him is uber sinister. I'm going to bet if we bashed your brains and find all sorts of little secrets. Yeah. He's ridiculous. And every time he drives by from a crime scene, this is another thing that Edgar writes really good at is music implementation into movies. It's almost like he took a page out of Tarantino's book and kind of did it in a more story constructive way. Kind of think about the baby driver and how they escaped a bell bottoms in the opening of that scene. There's a lot of terrific uses. The amise-like Sunday morning in that movie. Commodore's. There's two instances here where you picked it up, "Dyer Straight Song", I can't remember the name of it. Romeo and Juliet. Yeah. Right after the murder of Romeo and Juliet and then later drives by the blown up, you know, lavish estate. And it's, um, fire, do, do, do, do, oh, hell, fire and it's so on the nose that it works, right? It's, I love how music's used in that regard to kind of explicate the story of it. Yeah. Uh, but yeah, yeah, Timothy Dalton's great. So you got a, a bellock from Raiders of the Lost Ark is the, is the, like, the surly priest kind of looks the same just with wider hair, right? He does. Yeah. So yeah, what are we doing? I came out of the womb at 60. Exactly. Yeah. So like, yeah, like, okay, we've established Boringville, how are we going to police around? It's so bad that he's sitting on patrol in the middle of fifth and elm or whatever version of that is there. Looking at people's jackets, trying to find crime. Oh, look at that sound. That's perfect. You and I are on the same wavelength. Look at this. One of the things from the shop. You've just been to the shop thinking of a different shop, classical butterman. This is not the time for personal errands. Well, there's nothing going on, what is there? There is always something going on. You have to look closer. All right. What about this guy? It's a treat, sure. Yeah. Why has he got that big coat on? Can't be cold. Why the extra layer? Maybe he's trying to hide something. Mr. Treatur. Okay. What about this guy? Ask yourself. Why is he got his hat pulled down like that? He's fuck ugly. Or he doesn't want you to see his face, because he's fuck ugly. Okay. What's his story? Oh, it's Lurch. Go on. It's a truly boy at the local supermarket. Good. A real name Michael Armstrong. Uh-huh. Dan says he's got a child's mind. Okay. He lives up somewhere straight with his mom and his sister. And are they as big as his? Who? The mom and the sister. Same person. That's a great line. She's my daughter. She's my sister. Yeah. They give it to Michael Armstrong, the Chinatown treatment here, uh, comedically. There's a lot of three great moments right there. First, Mr. Treatur, maybe that guy is hiding something in that coat. Hey, guess what everyone he is, because he's about to unleash in the third act of this film. Yeah. The second guy. This is when I knew I was going to love this movie, because why does this guy got his hat pulled down so far? He's fuck ugly. It never heard that before. And then he doubles down or he doesn't want to see his face because he's fuck ugly. Yeah. I knew I did that. That was, you know, when the movie just kind of like pulls you over to its side and you're just like, I know I'm going to just enjoy whatever the rest of this, whatever they throw at me. That was, that was the moment. Cool. And then Michael Armstrong, his mom, his sister, the same person. Oh my God. Trouble. Yeah. Let me stop talking to you and let's go to the supermarket because I'm learning a little bit too much from you here. And then we got a pretty great chase scene from the fuck ugly guy, this kind of foot chase. So I'm in big and, you know, he can run, right? Yeah. Run family, run. And then this is where we get that moment, that kind of trailer moment where we're like, what, you've never cut through, you know, you've never taken a shortcut before. And again, the hyper realism of the film, tongue in cheek. He vaults three of these and then does like a flip over the fourth one. And then Mr. Danny, Luca Stella himself just careens into the first one like he's not going to do that. Look at that guy. I mean, he can't do it. That guy just did. And then they trap, they catch this guy when he throws a paint can that dunks him on the head. Perfect shot. It's just silly. Timothy Dalton doesn't want to press charges so they just let him go. And I was like, well, what are we, we're just letting, I give foot chase for three to four minutes and you're just not going to do anything about it. Something should be perking up a little bit of like, well, that's a little strange. Like, how can we get any good work done around here? Yeah. And then right into the, the next moment here, we've ever seen point break. Amazing, but in point break, we're going to jump over a fence. That is why he's just robbed this plant. Keanu Reeves is chasing him through people's gardens. And he goes to shoots ways. But he can't. So he loves him so much and he's firing his gun up in the air and he's like, oh! What's this? I'm going to refide your gun up in the air and go, no, I have not ever fired my gun up in the air and gone, ah, sorry, I'm, I just, I just feel like I'm missing out sometimes. I want to do what you do. You do do what I do. I don't know if do you think you're missing out on gun fights, car chases, proper action and shit. Police work is not about proper action for shit. 29. If you'd have paid attention to me in school, you'd understand that it's not all about gun fights and car chases, fire at the roof. That was brilliant. First of all, the reference to point break. Very well appreciated. I mean go listen to that fantastic episode we did two years ago, maybe already. Love that film. Great film, right? Top 10 for me. Of all time. Of all movies. Ever. A typewriter is. I love it. The editing of this movie I think is completely, and it's, I think the biggest trait I've been able to glean from Edgar Wright's style, which is real flash, quick cuts, shots of like completely weird angles. He makes like the pouring of a beer and a cranberry juice seem epic. And then we pull back and it's like they're just pouring drinks, like what? It makes it seem bigger than it really is. And then here, I mean, you know, talking about- Because you know why? Because that's defined to the characters. And it's defined the characters because he set that up so well. This dowsing of liquid into these two different glasses defines both of these characters. And what we still have yet to traverse is the bridge of difference. So if Danny is pounding whatever logger it is, and Angel is still drinking fucking cranberry juice in the pub, we're not there. And the reason that that matters and the reason that is so highlighted is Edgar Wright has taken the inane and given it purpose. And what ends up happening later on in the film, and it only happens one way, would be really telling is later on at the end of the film, if Danny asked for a cranberry juice, because then he's ascended to the cop that Angel thinks he can be. Sure. But we start to see the defrosting of Angel and this hard brass bald cop that we've talked about. We start to let it down a little bit and humanize himself with the changing of that cranberry juice to beer. Can you think about that is so Seinfeld smart, we're going to take something that is innocuous in an inane and mostly throw away in any other film. And it matters because Edgar Wright isn't wasting our time or his shots on shit that doesn't matter. Yeah. It has a purpose. Genius, man, or cutting like in this instance, too, or like gun, the police work is about gun fights and car chases. And then a car speeds by going 70 and he's like fire up the roof because we're about to do a car chase when I just said police work's not about doing this. You know, this is like, yeah, okay, I know we both had this friend in our come in our, our, our maturation. We go out and we decide among the group who is going to be the DD that night. And the same guy always ends up being the DD and he wears it to this mantle of, I guess albeit and this nobility, but it's the same guy who never drinks anyway. And so he puts this badge of honor on himself championing what is lack of rebellion. So I guess that's just called maturity and puts it on the lapel of greatness and showcases it is I'm taking care of these losers once again, cause I always have that role when the only reason he's with us, cause he doesn't want to party with us is to be the DD. And so you get this weird social dynamic that is overwrought with self importance, but necessitated because we all have to get home because if there was a bus or Uber or Lyft back in those days, I'm not sure we'd even be hanging. That's angel, fuck you, cranberry juice. That's what you and I want to tell him, but Jesse, we got to get home. Yeah. He's got to drive us home. Right. So we'll put up with it and we'll tease him a little bit, but not too much because I want him to take me home. And there's this very odd social awkwardness that is protected by your own sense of purpose of righteousness that borders on a little bit disgusting and kind of a little pound it. Yeah. Kick rocks. Absolutely. Yeah. I love it. It's so, I also love that in his cranberry juice, he puts an orange in there just for a little extra flavor, like a little extra citrus cheese ball. Go. Sorry. I cut you. Oh, no, you're good. Pull over this aspiring actor and his concubine, Jesus, yeah, 60 years his junior. Yeah. And he's putting on an homage to Romeo and Shakespeare's Romeo and Juliet. Fine performance yet. We'll get to that moment here in a second, but he's just writing down stuff in his notepad and, you know, he's just like writing down for the thing and he finally kind of gets him to admit that, you know, he was speeding because this guy's trying to weirdly justify why he would drive in 70 and a 30 and they get back to the car and he's like, do you see what I did there? And he's like, yeah, hypnotized. It's like, no, this book is a policeman's best friend. So do believe it. Nicholas Angel is also trying to think it teach different kind of ethics of policing. It's not about running it with your guns blazing. It was like, be a detective. I thought a lot about that great video game, LA noir, which is a lot of talking to people and writing clues down and disarming someone through lying, right? And he's like, this is your best friend is like, yeah, I use that too. And he has like a flip book of like grotesque animations, right? But then, you know, they're making headway. It's like, what are you doing tonight? I'm going to water my piece, Lily, whatever. But the force wants them to go represent in a go represent the force in the this play of Romeo and Juliet. This was the second moment, Matt of they already won me over with fuck ugly, but I'm sitting there and I'm watching these two guys watch this play, which is not William Shakespeare's Romeo and Juliet. This is a remake of Baz Lerman's Romeo plus Juliet with Leo and Claire Danes. Yeah. He's got the same armor sheet as him and you're watching this guy, and you're like, wow, this guy's the worst actor of all time and a little extra smoochy smooch with his Juliet, right? And then they do the no doubt song and like a kind of like a flim flammy kind of way. And his face is a gas because I imagine Nicholas Angel as prim and proper as he is as a sergeant has a respect for English arts. Oh, if he's not seeing Shakespeare at the globe, he's not going to be bothered with you. Are you kidding me? So this travesty befalling him and his mouth the gape of just like, what am I watching? That was moment number two, just like that is good. And so it's just like, wow, that was a shitty evening. Like let me have some pound that back with some more cranberry juice. And you know, they piss off for the night. And then here's where we get the first images of, yeah, like I told him to drive safely. Hopefully we're not seeing him again anytime shortly. Smash cut to this slasher with an axe who kills these two lovers. Yeah. It's staged as, so I think this is an interesting kind of almost Hitchcockian moment wherein for us the audience, we know there's a boogeyman-esque part to this film, unbeknownst to the main character, right? So we know it's someone getting hacked to pieces, but it's staged like it was a traffic collision in their vernacular, right? So it's almost like we got to wait for Angel to catch up. And how many people is he going to get on his side, or is he going to kind of go the route of, you know, they're gaslighting him so hard into Samford is the safest place imaginable? Is he going to start to kind of think, well, maybe they are right, right? But we the audience kind of know the truth. I think it's kind of an interesting mechanism to play with here in the kind of middle section of the movie. If a tree falls in the forest and no one hears it, does anyone care whatever that is? If a movie's made and no one sees it, does anyone care? What I'd go right is very aware of is the relationship that he's building with the people that are going to view his creation, whether that's I'm going to make this bit on the cranberry juice and the logger matter, or I'm going to do a technique that I know he has studied because he's a student of the craft. And I'm going to arm the audience with information that my protagonist, this is the Cohen Brothers also to the letter that my protagonist is going to come to because what we're doing then is we are recognizing the fourth wall. And instead of breaking it down in a Deadpool way, which works very well for Deadpool, we're going to erect it a little higher and a little more sturdy because you just want to ascend one more level because you can say, hey, Sergeant Angel, and that gives you a relationship with the protagonist because you want them to come to that information to decrease the odds of the consequence, the conflict that they're facing. It's just basic, basic screen making. But when done well, and Wright doesn't do it in a winky, winky, shame black, aside kind of way, he does it in, look, I trust you enough with this to give you this, but you need to trust me enough that I'm only going to give you enough that doesn't spoil the end. And that's a nice relationship that when your director or writer recognizes and has mastered, creates more buy in for the audience, and that's what we go for. We want to be entertained. We want to be told a story that we're allowed to be involved in without being able to tell the story. Yeah. Boy, that's a craft. And have some fun along the way. Why do we need a dog? What did he say? He said an edge is an edge. He only chopped it down because it's for his view. What's he preventing about? Look, I appreciate your position, Mr Webby, but you can't go around chopping down other people's hedges of that permission. As those? Yes, I suppose. Thank you. All right. All right. Mr Webby, I trust you have a license for that firearm. Don't for this one. He does for this one. What do you mean by this one? What do you mean by this one? It's a powerless grayskull. Where on earth did you get these? Found them. And what? Is this? Seamoy. Seamoy. Well, Mr Webby, this is an extremely dangerous collection, it's a wonder nobody's been hurt before. No! Here's a load of chalk. So good. I don't know if I've ever seen this before, Matt. So you want to tell the audience, give them a refresher. It's, you know, we'll do this from time to time. Tell them about the rule of three again. You want to give your audience some piece of information that is important three times because the studies have shown that in the relationship, back to what we just talked about, that we're building in a film, for it to stick and matter, your audience has to be exposed to it three times. Now, the third time can be the payoff, but what we're talking about is setup, setup, maybe potential setup and then payoff or setup, setup, setup and payoff. So to create an acknowledgement with all of the other things that are going on in the film as we watch it, you have to be introduced, reminded and reinforced. You're teaching your audience. So the rule of three helps introduce, re-teach or reinforce and re-establish some piece of information that among the waves of images that are smashing into us as we watch this film, we're able to remember, like, oh, that's the third time I've seen a swan or the third time I've seen this or the third time I've seen this and I'll give you a great example. Yeah. I mean, there's dozens throughout film history, but the one that really just jumped out to me right now is in die hard, Alice is so apt to explain Holly's gold watch and then the watch comes back again and then a watch comes back at the end of the movie when it's groover's ultimate demise, right? Yep. So we've established a relationship with that inanimate object that it matters. Notorious. The Unica key. Yeah. If it's going to matter, it just shows up and matters. Your audience is going to be like, well, where the hell was that? You have to highlight why it matters so that when it plays to fruition and is paid off, your audience doesn't roll their eyes and be like, oh, okay, yeah, sure, this beer can here. Well, like Wilson is a great example in Castaway, since Wilson's a great example. Yeah, I know it's weird, huh? We haven't talked about that ever. And it's I like that movie, of course. So yeah, you want to set it up, reinforce it and then pay it off at a minimum. Thank you for that. I don't know if I've ever seen it done this way before. So now you're doing the rule of three by power of three, comedically. So essentially, we've already established this character that has marbles in his mouth. We don't understand a lick of what he's saying. So now you introduce another character doesn't under I can't understand and it's filch from Harry Potter, the caretaker or the whatever, the ground, the security card. You don't understand anything. And then they cut to this constable and you can kind of hear it a little bit better, but it's still marbles in the mouth. And by the time it makes its way to Nick Frost, Danny, it's clear as day. And then so then they do it three times to really hammer in the comedy of the situation. Yes, but yes, suppose. So you're getting the rule of three done through three separate characters to show inaudible to intelligible for comedic effect. I don't know who came up with that, but that's pretty great. I mean, it's pretty genius to like wheel that into like one scene right here. Yeah. And comedically done because marble mouth is able to decode. Yeah. Like marble mouth. Yeah. I'll ask you a question as much as I like this scene too. Do we like it if constable angel or I'm sorry, God, what do I want to keep doing that? Sargent angel says, do you mind taking this one and the two of them? Back and forth. There's something there too. It works fine, but it struck me as there's maybe a moment here where they can stretch it a bit more. Yeah. But anyway, yes, I think that's a great example of the rule of three because it happens three times through a round table of three. And yeah, it's a great comedic moment. And it leads to this discovery of this arsenal that he says, I found them, which was whatever. Yeah. How did you find this? In this sea mine and you did something really cool, I think, in us watching it, which was he hits it with the butt of his gun and it starts ticking. And so it's like, get the fuck out of here. So they run, they jump over a hedge and you did a kind of audible like you were waiting for it. Sure. Didn't happen. Nope. But in the back of my head, I'm like, Matt's going to get that later and that set up three different times. Yeah. The sea mine, right? I was like, yeah, the sea mine's going to reappear. I mean, we're not going to just introduce a sea mine and not do anything with it, right? Okay. So look, let's do it. Then real quick, this is another example. So we get the part you just talked about then that scene cuts and we're in a field and they're still kind of dicking around like banging. Oh, it's, it's, it's dead or it's disarmed or it doesn't work like we see the jumping over the hedge failure to launch that happens. Then we get to, yeah, he had a sea mine in his barn and it's a dead. It doesn't work. And they're like kicking it and fucking around with it. That's the second time. Third time it gets taken into the evidence room and it just rolled in half past like they don't give a shit about it. Like it's just, and it doesn't work anyway. It's been set up three times and we are led to believe, oh, it's a dud. So without even knowing, he plies it off in what's a set up for a really big moment in the film a little bit later on. And if you think about it, if you introduce a sea mine into a movie and you don't do something with it, that's bullshit. Yeah. So good for Edgar Wright to make me think like, oh, yeah, it's just a sea mine and whatever. Like a sea mine is whatever in some guy's barn. Yeah. There's no way that that's a whatever. Exactly. So to Edgar, right, it's further way to manipulate me, dude. It's further evidence of a guy who's in complete control of the story. The fucking men from the editing, the writing, the, I mean, he's the, the, the him and Jesse, the puppet master. I mean, he really knows the, the, it's a chess game he's playing, right? I know my story and I'm in such control of this, that this sea mine that obviously matters. I'm going to make you think does a sea mine and you know, yeah, it doesn't matter. Even the, even the swan that, you know, Mr, Mr. P.I. Staker, Mr. Piss Taker. Yeah, that one got you a bit and it's an actual guy's name, Peter Ian Staker. It's this swan that they just can't get because who wants to battle a swan and bring it back to this guy. Yeah. But Deus X swan in this movie, this one saves the day in a weird kind of way. Yeah. Yeah. But we're making headway here and so you want to see Nicholas Angel and we haven't even talked about his last name being Angel and like the guardian and just like all the kind of religious and he's agnostic and I got a cream for that kind of mentality. He's loosening up a little bit because instead of going to water the peace lily, he said, that was a pretty impressive hall we made today with that old man's arsenal. What did you have in mind and the answer is always pub? Yeah. And he's going to go to the pub with him and I love this banter too because it was like, what can I get you that's not cranberry juice? And he goes for, I'll have a glass of wine, English, Globe Theater, I drink wine if I'm getting lit. Right? Yeah. And the, the, this guy here, we got red and we got white. We don't have Cabernet, Savion, or Pinot Noir, Pinot Noir, Chardonnay, and it's a quick decision. We're like, I ain't fucking with that. Give me a longer look. So he's loosening up a bit and then we learn a little bit more about these two guys, right? It's like, think, let's, all right, let's stay in that space for one second because it's a great point you brought up. You go out with your boys and they're all drinking. I'll take of this, I'll hold fashion to this, blah, blah, blah. I'll take Merlot, they're going to look at you like, what? You're going to have a what? Yeah. Merlot has its time and place. And you're going to catch hell, Jesse. Exactly. Yeah. And this gets to the conversation that he had with Kate Blanchett, even though we don't know it's Kate Blanchett earlier in the film, which seems to be the end of a relationship over his commitment to right because he's just got a corn cob up his ass. Who goes to a bar with his boy? And it's just the two of you, not like a couple's with your wives and we're having some find it. You're going to the bar to get pissed and you ask for wine? Yeah. Are cosmos next? You and me are not going out to like go out to the football game and drinking a wine together with Jesse. Yeah. I love that. Yeah. It's so smart. How do you define characters through the things they do, Edgar Wright, as a student of the craft, everything they do needs to either reinforce or cause some doubt in the reader. Sorry. I'm like, as a reader of the screenplay, a watcher, an audience member of the story and the liquor consumption, the, not even liquor, the beverage consumption in this movie matters tremendously. And then it's also a sign we're letting our guard down, right? Exactly. He's like, fuck it. It's quite so prim and proper. Give me a lager. And I don't care what it is. Just make it cold. Yeah. I'll have a beer. And I love that. Yeah. Yeah. Kind of a throwaway, but it means a lot, you know, for the kind of the characters kind of external and internal conflicts too. Done through liquids? Yeah. Right. But why not? Why not? Right. And then I love this scene of the two of them sitting there because he's finally letting loose a little bit of like, yeah, I was a little too married to the force. It cost me a relationship. I just don't know how to switch it off. I admit it's a problem, but I'm really good at my job. But do I sacrifice being good at my job for normalcy? And then you learn a little bit about Danny and he's like, yeah, I guess I always want to be a cop after, you know, dad wanted me to be in it. So I was around because, you know, after mom died and, you know, it was just kind of a way to kind of continue on and pass on the family towards, so to speak. And in this moment, the two of those characters find the bridge that unites them both and that is through ready for this, something you and I both like, family, because angel is in it because of his uncle, Steve or whoever the hell his name was, and the pedal car that he bought him as a young man that he enjoyed riding around in so much that it taught him how to be a cop. He's walking around, giving or driving, pedaling around the neighborhood, citing people for jaywalking and spitting and littering and just silliness. And so at a young age, in a commitment or a legacy piece to his family, he's still honoring that because that's how he was brought up, flip it. I was also brought up in this. So we're both stuck in this space, one by hook and one by crook of what got us to this policeman officer, a little funny humor around that, the whole film. And they finally find some common ground. So what's left to do? Let's get slashed. Let's get trashed now. Oh my god. And then like beer after beer after beer. I mean, oh my god, I would be ruined for like a week after this drinking that they do. I could feel it through the screen, but another there's another guy there. This is. Did you feel it? Yes. But I'm gonna sidetrack you for a minute. Did you feel it? Oh, after three hours, did you feel it? A little bit. Who I got home and I felt it. Well, you know, yeah, three hours, dead bullwolverine and that was, you know, murdered that bottle. Some frustrating, you know, content to kind of dive through, you know, it's three, I couldn't believe it. On a normal show, you and I will do like, and we pour probably a double to start. Yeah. Would maybe do like one and a half. Yeah. And by the time the show was done last week, it was probably three. Closer to three. Yeah. So that'll got wiped out. Enter Sandman. Exactly. Help me to sleep indeed, but they got to go put this other guy to sleep here. This is, you know, George Merchant. He's kind of a perpetuant of like real estate in the area and all of this Roman Polanski looking guy. I mean, they're like, you know, no one likes of Timothy Dalton hates this guy because, you know, he's kind of in a way trying to run him out of business because T-dalt owns like kind of like a mom and pop supermarket, but other people are going like out of town to like the Walmart, to like, and they're taking his business away, this kind of economic thing. So he already doesn't like him, but this guy's pissing on a jukebox. Gotta get this guy. Oh, what an interesting. Oh, I thought that was like a meta. That's a really good expression. Yeah. Pissing on a juke. He's doing it in the film, but you said that and I'm like, wow, what does that mean? Write that down. Yeah. Pissing on a jukebox. Exactly. 24 version of Chantaté. There you go. I like that. You got Chantaté pissing on a jukebox and economizing the monkeys. Do you remember that one? That's all good. Dude. Pretty good. Pissing on a jukebox. Yeah. They got to take this guy home, right? And you know, this guy's going to piece some more, but in a weird way. And again, this is also, you know, when you do a podcast like this, when you watch movies because you have to talk about them for on this show now, you know, almost two hours an episode, uh, you pay attention to things. Oh, I think a whole lot more. It's the one reason. Do you remember this? This is one of my favorite moments on this podcast. Do you remember in speed when I picked up on when they make the big jump, right? And there's that old black couple. They have that line there that is, I hope we see our daughter again. And I, we had a long conversation about are they hoping that they go see their daughter in heaven because this bus is toast? Or are they hoping that they see their daughter again, that they survived this thing and they get to go back home to her loaded line, a 10 minute discussion, a throwaway line in a movie right before a huge action sequence. And that's only because I'm, I'm really paying attention when I'm trying to like decode the movies for the show. This was the first time I ever really picked up. They walk home and they're at like at Danny's, you know, doorstep. And I'm like, this is getting a little romantic between the two of them. He asked him, do you want to come in for a cup of coffee? And I'm like, well, that's something you would ask someone and if you like want to come in for like dessert, right? And he comes in, what about tea and what about what if we keep drinking and, you know, you can look into all the kind of the veil, the homosexuality of this, whatever this is. And if it is, I think it's really smartly implanted to imply that. But essentially what it is is just two bros being bros together, right? Common place between having some brew skis and watching some film. And when he opens up that treasure trove of a movie collection, yes, dude, that's enough to make my heart smoke be here every day at seven o'clock for the next 50 years by the power of gray skulls with Simon Pegg says, and he pulls out point break and bad boys too. And he's like, which one do you think I'd like? No, which one do you want to watch first? Because we're doing both the nights, right? I kind of like that. I kind of like that. We love that. And I like that there's this implied like, are these guys going to like, is this a like a romcom thing or is this just a bromance and it's a total bromance? But I like how it's just so subtle in how it's implied. I do too. That's good writing. That's good directing and it's fantastic acting. And these two guys do point break, you know, swazy looking back. I mean, and then we're going to pay that off too, right? He's already mentioned it in the car. Have you seen point break? Have you ever heard you're going up in the air and gone on? And then we see the reference and then we do it at the end of the movie. Yeah. The rule of three, it's boom. And then they both fall asleep watching bad boys too, which I don't blame you because it's a long movie. It's really dense. And after seven beers and point break, seven beers, one movie, I'm going to tune out. He wakes up. There's a phone call doesn't answer it, but the movie does the phone call, which is Martin Lawrence turned Will Smith. Shit just hit the fan in the movies context. The shit just hit the fan because now we blow up this other guy with I think a really well staged murder scene, which is I'm going to bludgeon this guy to death, but I'm going to make it seem like he had a head injury, having a late night drunk snack and he just blew himself up because he was so drunk. Yeah. He just ends up on the road of the car as a thing. Yeah. What do you think of all that? I mean, the referencing the movies to then we even do a bad boys reference later at the end of the movie when the helicopter goes above them and it's very Michael Bay slow motion like only he would do. I mean the film references into the buddy cop space. I love all that and what we're starting to do in the movie that has been dryly humanized and British comedy gold in that way. One thing that Edgar Wright has also found a way to do is present violence comedically as well and hard violence. We're not cutting away. We are getting the full kit and kaboodle on this. And so when we get these big moments or these big action bits and we're blowing up houses and bacon's being cooked and all of these other sort of things that are going on. One of the ways that they do that, okay, so let's take the first kind of murder that happens and that's at your home as you're going to the bathroom. And then the second one is this clandestine couple that- Oh, that's the first one. And then he's the second one. So the clandestine couple that's not really socially acceptable. And then they drunkard who's not really socially acceptable. And then what Edgar Wright is creating is a version of domestic acceptance. Then when that when it strays from the norm, it has to be destroyed. Okay, so now let's go back to your bromance thing. It's all around it. And I felt it and I'm like, "Mack out. Are they going to go in a kiss?" Because it feels a little bit like, "Do you want to come in sort of dating?" I'm glad they don't go that way because I don't buy that these two are that type of movie, right? Yeah. But they do wake up on the couch kind of leaning on each other. And there is at least an intimacy and not that way, like a compassion or a love that is a bromance kind of thing. It's the type of relationship that I also think befalls, Somerset Mills throughout the course of seven. Well said. Almost like bother son in that film or so. But like these are two guys that really end up caring about each other. Well, I worry about the forces of evil that are removing these bastardized sources of social analysis from their little quaint village because they don't deem them acceptable. You've got the cop who's out of water. You've got the commissioner's son who, look, whether we want to say A or B or not, they did spend the night together, not that way, but he didn't go home. So we're already a little worried about how this is going to be seen by the public or the villagers. And it is bordering on if not homoerotic, and I don't want to go that route because it isn't. They got piss drunk and I don't think the town likes that either. Sure. So you start to worry about them as they get closer as a couple, what ends up happening to them as the town becomes more familiar with how they act. So that's quite the word sell. So let me kind of clarify that. If you're a bad guy that kills people and the cop is about to bring you to justice, then it makes sense to stop that by killing the cop add to that. If the reason you're killing people is they don't fit into whatever tight, cute little mold for what you should do in this quaint village that is the least crime ridden village in all of England and the cop who is new to town spends the night with the commissioner's son who's also a cop. It's twofold in the reasons why that might need to be done away with. So we're creating in rights world on the pages that he's working on, double worry for the audience subtly on a level that sort of inspection the way we're doing it now, probably you miss, but is clearly, clearly intentional. Absolutely. So we get to this kind of the midpoint of the film, which is, you know, we're minute hour and 30 and we'll get there quickly. It's this kind of carnival sequence that Angel has to kind of work and everyone else gets to have a good time. We've already established that Jim Brodbent and Danny, Nick Frost, or have a propentrual propentrual for the Wild West paraphernalia. So they're dressed in like cowboy garb and, you know, they kind of get into this festival and there's a couple moments I really like here and one of them is Timothy Dalton at his station has kind of like a carnival game called Splat, the rat, you know, this guy's a bad guy. And then there's this other character we haven't talked about yet, but he's about to come into play here. Tim Messenger, he's the, you know, the writer of the local newspaper. Everyone hates it because he doesn't get anything right. It's terrible. It's a bit tabloidy, lots of typos, but he's got a scoop on something. He needs to talk to Nicholas Angel, meet me at the church at three o'clock and he has to go do some sort of like, you know, raffle at that time, three o'clock hits, the mysterious figure shows back up and we've already established that the church roof is in need of restoration because this spire is going to get pushed right on top of him. And this was the first time I ever kind of drew a lot of comparisons to the Omen. Even the music's very like Omen like and I'm thinking of that great scene where the priest is speared by that, you know, lightning bolt, you get pierced by that spear. Oh my God, this guy gets just annihilated by this church spire. It's disgusting is what it is. It's the first time in the film where everyone witnesses the murder and kind of realizes, oh, that's abnormal. Like maybe we should kind of look into this a little bit. And that kind of goes nowhere, but it, you know, lights a fire under Nicholas's butt of like, I need to start investigating Tim Essinger's columns, the people, the relationships to each other and see what else is going here. What did you think of that moment? Did you think they were going to like blow this guy's head up? Yeah, I didn't know what I thought was going to happen, but when it finished, what left me was that he was murdered with a religious icon. So the flying buttress ascending crucifix on the top of a church, the spire being knocked off. It's this Garthic Garthic, otherwise known as gothic, this gothic sacrifice that then played really well into what we're going to come to realize later. And that's sort of this cult like following that has happened in this town that, God damn it, there it is in constable, Sergeant Angel, which is also a really interesting name with where I'm at right now, right? Sergeant Angel is about to uncover. He could have killed him anyway, just he could just be a stone. It could be, you know, a car, it could be any number of with this terrible police force things that are just sort of hand washed away with what was an accident. But the fact that it's pushed off the top of a church and crushes him, point down, it's kind of funny to watch like, God, that's terrible. But Edgar Wright leaves it there long enough to where you're like, fuck, that's actually really, really violent on the same time at the same time. And what did it really stoke those fires of uncomfortableness that we sort of talked about earlier, like an hour ago, about this weird undercurrent of cult-like groupthink. There you go. Yeah. I guess cults are naturally groupthink. So that's doubling down on the same thing, but cult-like. Well, let's get to that list. Let's get to the first. So through his investigations, he kind of gleams, you know, somewhat of an idea of these people related, it led to this, it led to that, and it kind of doesn't go anywhere. And then he finds out that it's Danny's birthday when they've been doing all this investigating. And he's like, I got to get this guy a birthday present, and I have enough friends with him now to kind of, you know, I got to get him something so he goes to get him a Japanese piece lily at the floral shop and the floral lady, Leslie something or other, is one of the members of this, you know, neighborhood watch alliance, but she's on her way out. And this is kind of the first moment. I like that the movie kind of does, and I think they do this on purpose because the explanation she gives is almost too complicated, right? It's she's selling her store to, you know, some other wealthy land developer and, you know, Tim Messenger was inquiring about the land and how much value was going to hand. He was represented by one of the actors, and the guy that died by Frankson beans was like into real estate. So it's all kind of loosely tied together in a very complicated way. And it's like white bulbs for this guy of like, what to like, yeah, it's all tied together. You're selling your thing. And it's this domino effect of something else is going to come in and we got to eliminate every piece that has something to do with this. So he goes back out to the car. She gets murdered by garden shears a great slasher kill. And then he's on chase and it's a ridiculous chase that you wonder, well, how was how was that person able to kind of get away? I mean, he's like, said every record in the police force for most quickest runner ever, right? And this guy is like off to the charts there. So it's interesting. And then when you have the full picture, it's it's even better too because you're almost like, if that's, you know, the kind of the crux of the film, I accept it because, you know, something strange is going on here. And I know some people are involved, this weird cloak society, but is it really over just like land real estate and land development? But oh no, it's even more mundane than that. And that somehow makes it even better and more creepy and yet more believable for the out of water that's been established, yeah. We get to they're on to him and they're like, stop investigating this. I don't want you to end up like the last police officer that ended up coming through here that we had to replace with you. And he ends up at this church and we have a pretty great, you know, church almost seance like cult scene, but it's still just completely ridiculous. So um, I'm trying to remember which clip it is, I think it's this one. Hello, Nicholas. I was like you once. I believed in the immutable word of the law. That is until the night Mrs. Butterman was taken from me. You see, no one loves Sanford more than her. She was head of the women's institute, chair of the floral committee. When they started the village of the air contest, she walked around the clock. I never seen such a dedication. On the eve of the adjudicator's arrival, some travelers moved into Callum Park. And before we could say gypsy scum, we were knee deep in dog muck, thieving kids and crusty jugglers. Crusty jugglers! We lost the title and Irene lost her mind. She drove her dad's and cherry into Sanford gorge and that moment on I swore that I would do her proud and whatever the cost, we would make Sanford great again. So this doesn't make any sense. The adjudicators arrive tomorrow. We had to get everything ready. She's saying this is all about winning the best village award. This is the best village in the colors. You've seen the people? They're happy. Contented. They're living in a dream world. Sergeant Popwell thought much the same as you. I'm disappointed you can't see the bigger picture. Well I'm happy to disappoint you, sir. And I'm afraid you're going to have to come with me. You are all going to have to come with me. No Nicholas, I'm afraid it is you who is going to have to come with us. So essentially, it's not about real estate. We don't care that this person was going to sell this land or this person was this. It was those two, the Romeo and Juliet, were such atrocious actors. We couldn't have that murder Bill Shakespeare because we believe in the arts here in our little quaint village and we have none of that shit. We had to kill George Merchant because he built an eyesore when we want to kind of keep to the rustic aesthetic of the country. And we just killed my cousin because we can't have her taking her flowery prowess to another village and upstage us somehow. It's all about this facade of the greater good, the safest village, the perfect village and no living statue or vagrant or anything is going to get in the way. We went for something super complex or something super simple. And it makes them really sinister and mysterious yet huddly hilarious because it's this group of old vokies, right? What I love about that too is when Sergeant Angel goes to get the peace lily for Danny for his birthday. He's having this conversation with the florist, this woman who is the one you spoke about getting killed in a very slasher horror with his shears through the throat. And it just turns into this and I like at one point I wanted to tell you to stop and rewind that so I can pick up on this. I thought you were going to and then I realized I don't think I'm supposed to get this. But you can see Sergeant Angel processing this and reading the tea leaves and putting the puzzle pieces together in such a way that this puzzle that he's been trying to solve since the beginning of the film on who's done it is now starting to make sense. And it's this land and we have to kill this person to buy out blah, blah, blah, blah. And by the time it's on you like I don't understand any of what that was on purpose. And again, what we're doing is we're setting up a false path that the audience at least is going down to you probably can extrapolate, okay, this has to do with land possession or development of land like colonization essentially of the resources there. To then take me down that path and not not overbird me with the weight of let me watch that five times and what, but like, okay, sort of get it kind of. And then completely turn it around is such a nice manipulation of story again, as we've talked about several times already set it up at least three times and pay it off now. We need a couple more times. With right with what we find out is it's not about any of that shit like you were chasing a ghost with a butterfly net. What it's about is we need the rest of England and maybe the world to look at us through this lens of perfection, because when we weren't perfect, it cost me my wife. And I buy that that's the reason he's doing that. The gypsies came in and ran a muck and we won't have any more of that. My wife went crazy when the gypsies showed up, but we're not going to have any tourists come in here and screw up what we have built. And they've buried it, right? And the recesses of this castle, the youths, the statues, the living statues, the gypsies, the living statue died like this. The other previous constable that had the beard that they talked about is in there. The great big bushy beard. Yeah. Yeah. It's so well done. Yeah. I really appreciate that. It just went from I don't understand what the reasoning is to I understand what the reasoning is and it's preposterous, but it makes total sense for this movie, right? Yeah. And this society alliance of cult-like people, right? That of all drink the Kool-Aid of perfection and we're going to have our supermarket be the best supermarket. We're going to have our church service be the best church service. Our florists will be the best florists and everyone will come have a great and they won't see a lick of contention here when they come in and judge our facility. And it looks like they've gotten Danny in on it, but luckily he's kind of like a way out for Sergeant Angel. Hey, get out of here. These guys are going to kill you. I'm doing you a favor. I can't get wrapped up on this because it's my dad. What am I going to do? It's my dad. I mean, what's this all about and it kind of looks like, well, what is he going to do? Is he going to bring London in and it's just going to be a shit show? Or has he gleaned enough from the action films that he's been shown and enough of his technical prowess to understand? I got to go in and take care of this and I'll get Danny to come help me because he goes to grocery store, sees the two move side by side is perfect and he sees those exact two movies right there. Yeah. Gets a couple supplies. Going back into town like Clint Eastwood in like a spaghetti Western on horseback. But first, it's another moment. This was moment three for me where I was like, I'm, I'm, I'm into this movie. There's a guy. He's about to radio in and he rams his car hard enough where it de connects the walkie talkie, punches that guy out. And then there's this old bitty with like a double barrel and she's got to reload and Angel goes and drop kicks this old great. Love that. Oh my gosh. Yeah. Again, I mean, got some old bitty getting taken out. I mean, there's comedy built into that naturally. I mean, it's just, we're either seeing that and it's so off putting that it's, I don't want to see an old person get beat up. But in the story that's been established, yeah, I can do nothing but crack up at that ridiculous moment. And then here comes this guy literally on horseback grabs the arsenal from the police station. And this guy's going to make them pay. I mean, he's like, I'm coming back. I'm taking it all back, right? I think we get, and then, you know, to rights acting prowess or action prowess. They really, you know, in the peck and pop action, they shoot it up in this last 20 minutes of this movie here, they just let everyone have it. Those concealing guns and bicycle baskets and hooded cloaks and that lock. The priest has, you know, two Dillinger's like in his sleeves that he has. But what's interesting is he, they don't kill anybody. It's just they name him enough to like, you know, you guys are still, I still believe in law and order and I'm not just going to murder everyone. You guys are going to, I'm going to throw the book at all of you, right? Yeah. What do you think of all that? What do you think of this finale? Just kind of just shoot them up. We're going to get everyone, the pub crawlers, the supermarket, you know, we're going to get everyone and reel them all in and try and do some actual hyper-intense police work here. Okay. Oh, this is the third act. I got to tell you, I understand it and I get why we go there. I don't know if I love it. It's sort of what you hinted at a little bit earlier. There seems to be sometimes a bit of a third act, maybe problem in this trilogy. It's not anything that makes me want to turn off the movie, but as high as I am on the film to this point, which two thirds of the way through, yeah, I feel like the tempo is off. Like this choice to turn into this hardcore and there's like the funny kick the old lady in the face sort of bit, like funny violence and that has also been set up prior. I've even said so as much. The tempo is weird for me. Sure. I don't buy Sergeant Angel completely as I want nothing to do with guns from some kind of sort of lightly addressed event in my upbringing as a young police officer to I'm going to take up arms again and I don't know if I like, I do and I don't at the same time. I like the idea that it's him versus the town with Danny and tow and Danny pulls a nice kind of reversal to sort of rescue him from the angry mob of cult members that want to protect the facade of perfection in this little village. Oh God, Jesse, that's such a hard question. Watching it, I was like, man, I don't know if it wasn't for the show, if I'd be so diligently paying attention as I am right now because this is kind of jump in the shark a little bit for me. But now that we've talked through it and I'm where I'm at, like I don't know if there was any place else for it to go and I really like the setups to get to this payoff. So I'm just going to give you this word and it's not an answer. I find it a bit, this third act to be a bit perplexing. And I feel like it was 201, is that what this is? I think two even. Yeah. Okay. This is 150 at most. Sure. Yeah, you could trim a little of this. Go ahead. Because I know, like, what do you think? What I really like about it is that I don't, I don't dislike it. I don't dislike it. Yeah. It is a bit jarring. I mean, it becomes this. It becomes like a peg and paw movie. It does. It does. It's just the wild bunch. But what I like about it is like we've kind of been referencing different forms of action, leave the weapon, die hard, point break, bad boys too. And I like that the film in the last act just says, fuck it, you know, let's go guns blazing. Like let's shoot it out and establish it. And, you know, Angel's a really great marksman that, you know, we've saw the carnival scene. And it's just something, it's just, it's so hyper. And I really like the moment, particularly in the supermarket, because you got two guys. That seems awesome. Yeah. The two, the, the, the, the, the, the, the butcher's and they're just slinging cutlery. And there's a great moment there where they sling a butcher knife at a jar of bolognese. And it hits one of the Andes in the face and it looks like blood and the other Andy in dismay. Just retell it. So, ah, and he just starts re shoot retaliating and he's like, it's okay. It's okay. It's just fallen. There's a lot of really great comedy built into that. I think I have one of them. It's one of the great, you know, we're playing with also when in real life, would you ever give a one liner? It's the ridiculous part of a net and it's Schwarzenegger's whole career, right? Yes. That's looks. He's in the freezer. Just say cool off. No, I didn't say anything actually. Shame. There was a bit early on that you missed when I distracted him with a cuddly monkey. And then I said, play time's over. I hit him with the piece of it. You're off the fucking chain. So good. Self referential. So I, I just like that it becomes like everyone's shooting guns and it's just like before that it was just like these people barely wanted to pick up a pen at their job. And now they're just, they're in it to win it. And it becomes like one of these action movies that we've been, it becomes a bad boys movie in the last, you know, third of the movie and we get to have some fun with it and blow it up. And what I like about it compared to the other two, which is world's end and this almighty god orchestrating this alien invasion or this thing or whatever, it really falls off the rails. And Sean on the dead, we hole up at the Winchester and everything just kind of gets really backed up in that film. To me, this is really wide open. It's not congested. It's, we got to still get the bad guys. We still got to get Jim Broadbent and T doll because they're kind of the leads of this thing. We got to chase them. We got to have a car. Have you ever fired your, have you ever fired you gun in a high speed pursuit? We're going to do that. We're going to do that again. The swan, this is our only opportunity to get that swan. We've been trying to get that swan the whole damn movie, but I get that swan right now. All to the veil of the judging authority of the village of the year showed up that day and shot and saw this shit show, Samford ain't winning it this year. That's, that's for, that's for sure. Right. Yeah. No, I totally understand because it is a bit jarring. It is a bit perplexing. And it does go on a little bit and you almost maybe want a little collateral damage, but I think it's been established enough that angels like I'm not, I'm above, you know, going intense with the law, but I'm not going to kill people. I'm not going to kill these people. Like I still, I'm going to bring them in. I'm going to do the policeman's duty of writing them up, putting them in a jail cell, court of law, law and order of justice, read them with the Miranda rights or whatever they do in England, right. So I think that's been established, but no, I totally, I totally get what you're coming from. He doesn't kill a single person in reclaiming the town for the side of the right. Yeah. It's arm shot, leg shot, blow off your foot. It's maiming and decapitating injuries, but it's nothing like I'm going to cap this dude in the head and watch it explode like a watermelon. Yeah. You know, the other thing too that I think right does well in this bit is I don't know if in the accolades that we have been exposed to for Sergeant Angels, police career, if detective work is ever one of them. And so for him to be the who done it solver, we kind of see him fail there, Jesse. If you want to be honest about it, this, you know, land grab essentially property takeover isn't what this is about at all. And so when you bring the character to a position of failure, which as you said, this movie structure wise is to the beat on the way it's supposed to be done, which would be the second act reversal and somehow our protagonist after two acts of the story, find themselves in a position worse than when they started to begin the quest, which would be this case. He's got to rebuild himself and what does he come to rely on? What his strength is and that's police work and some of that police work is not only adhering to following the laws of justice, but it's being able to through the means available to you out police the bad guys, and that's what this is. What I like about it too is do you really want him to shoot? I mean, do we do we really buy him blowing the priests head off? No, because I don't know, we don't, we might not be able to pull him back on to our good grace. You got it, right? It's a delicate balance, but I also like about it is, you know, he wasn't kind of able to figure out the mystery at hand, right? So in the veiled perfect society that deems itself as perfect, Nicholas Angel for like the first time is not perfect. Yeah. He's not the all powerful Sherlock Holmes detective. He has some availability to himself. And it's like the first time when you like realize that this guy slipped up. I mean, I mean, he's he's not super cop and he doesn't need his alternative half with him here. It's a fun, fun realization for him and it leads to this kind of fun chase here at the end of this movie too. Yeah. The cars crash onto this interesting kind of model of the town, this kind of makeshift model. Yeah. And we got to have one last 50 cuffs. This was how many of us it was two moments. This is the third moment. Fourth. Oh, this is the fourth moment. Ugly as fuck ugly Romeo and Juliet Romeo and Juliet showing up to town on the horse. Yes. So this would be for. Yeah. That was three. This is for Timothy Dalton grabbing this little boy and holding him a gun point and say nobody else moves or the ginger nut gets never hurt anything like that before. Right. And then they get into almost like a Godzilla like battle over this model where it's almost like hyper like they're crashing onto roofs like it's like some sort of like Godzilla versus like tingadora battle. And it ends and fairly gruesome fashion where T-dults chasing this, this boy and Simon Pegg with the box cutter and he slips on a car and spears himself on the church spire right through like the like the chin through his mouth and I thought it was another great observation from you of like, I don't think that would kill a guy. And yeah, sure enough, it's just like, it's just this in major pain. This really hurts. Yeah. Yeah, I didn't kill him book. Man, that would suck. Right. That would really suck. And then you got Jim Broadbent holding Danny up by gun point. He breaks away and Danny's got a moment now. Do I shoot my dad in the back or do I have the Keanu Reeves moment? I'm going to fire my gun up in the air gun arm because I don't know what to do. And then like I said, Deus Ex Swan, he gets in the car that had the swan, which you also told me just while we were watching like, I wouldn't pick up that bird because those things are me. They are me. And this thing like a Velociraptor and Jurassic Park, a Daxon in the car crashes it. And yeah, he's probably got some beak injuries and some whiplash, but we stopped all these psychotic old farts from, you know, this veil of perfection. And here comes London saying, hey, we need you to come back because we sent you away and the percentages are worse now than when we had you. We need to come back and balance everything out. And he's like, actually, yeah, I'm kind of happy here and tell you after all the work I put in here, I'm at least going to enjoy it now. Yeah, I found my place. I found a different side of myself. I have a best friend now. Yeah. And then we get to a moment and the first time I saw, I thought this was wild. I mean, so they go back and they're doing the police work and everyone's giving each other hell about it, but they seem like they've created a good collective policing family now. Everyone seems like the Andes aren't giving him shit anymore other than like playful ribbing. And then the guy that watches over the monitors has been hiding in the police station the whole time. And he's about to blow angel away with this elephant gun. Bill banny steps in front of this bullet right in the gut, right? This guy. And then he kicks this trash can at this guy's head. He falls into the sea mine, right? Arms itself. It kind of goes all the way in and starts clicking. They blow this whole thing up. And I got to tell you, the first time I saw this, I was like, I thought they killed they killed this guy. And I didn't know how I felt about that, I was like, a fun kind of jovial movie. And then he killed his character at the very end, you know, it's, I can see the emotional resonance that this will have, but it doesn't feel like this type of movie to I don't want to see this guy die. I mean, they had just gotten, they figured it out, right? These are buds now. And then he killed them. I was like, this is kind of a dark movie. Oh, right. Thankfully, I think in my opinion, I'll, I'll ask you too. They walked that back a little bit, and I'm sure a very horrifically painful injury that had to be recovered from, they don't kill this character because it's that really the ending we want. Whereas him, he's visiting the Riggs's wife's grave, like in Lethal Weapon, right? And it's butter, Danny's grave. Like that's now we're in a drama and I thought this was a buddy cop comedy at the end of the day. Yeah. And, and you feel about that kind of last minute twist. The same and I didn't want him to die either because that would be really dark. And then where do you go with that? Yeah. We've worked a really long time for us time investment and interest to kill that relationship as it's just sort of blossoming. But I do want to ask you a question. If you take a C-mine and you blow up the police precinct, raise it to the ground, Rick's strewn about and although I appreciate and I think you can to the setup of the impact of the C-mine, is that a little bit far that they all live after this place has been blown to smithereens? Because you know what's really, you know what I really like about it is it's almost a tad looney tune slash three stooges where in a lot of those shorts, they would always get blown up by something and when you would see them next, they would just be like black on their face and tattered clothes, walking accordion or whatever. Yeah and it kind of felt a little like that like no human would have survived this explosion but the fact that they were all on top of the, there was some kind of tongue in cheekness to that. And I think it does still fit the movie because we've been playing fast and loose with certain aspects of gravity. I mean, how does the guy do a flip over that fence like that? So I think they're playing fast and loose with that in a fairly serious moment. I mean, none of that to me really matters of how could they survive that. I only care about did Danny survive that gun shot this gun and I think it's a nice kind of surprise and then like I said, they walk, they walk it back but we're playing kind of an interesting reality space here where I'm willing to give them that one too. But in reality, if this was lethal weapon, oh, they're all dead. Everyone's dead. And the end of the movie is them all dead. Yeah. Yeah. For sure, lethal weapon that doesn't work at all in this because it is comedy, you do have to grant a bit more grace. I don't know if I loved the last little bit of the precinct blowing up or if you want to blow the precinct up, which you could make the case it should be blown up because it's just rife with debauchery and illegitimize justice. If the film editor guy, the video guy that's in there is the one that actually buys it and it's not by Angel's hand but by his own devices as he trips on this or and you can still have the part where Danny gets shot in the stomach. I think that there's a way around that where not everyone gets blown to Kingdom or you contain that blast so that and this is just so nitpicky that it doesn't blow up the entire building because the building came down and they were all alive and I was kind of like, come on, man. Sure. Yeah. So that part to me was a little too far. That was that was the shark that was Fonzie over the shark. Yeah. No, it's it's it's. I love that bit. But sure. And I totally get it. It's literally a moment like in the three stu just get there driving away in like an old jalopy and someone throws a stick of dynamite and the whole car blows up and in reality, those are the three dead guys right there and it's just their closer shreds. They're all just like in like gunpowder black. Yeah. Yeah. And that's what it feels like to me. But at the at the heart of it at the end of the day, I mean, I just it is the gunshot to Danny's guts. I'm with you. Yeah. I don't think about like the physics too much because I'm just like I just I really hope they don't kill that guy and on first viewing, I'm like his toast. I think they killed that guy and he's at the grave and it says butterman and I'm like, Oh, fuck this movie for doing that. And then luckily, no, he's still there. They're paying respects to their mom. Not dad because dad's a, you know, in prison or somewhere. But now we have a new friendship here. And I really liked it. First time I picked up on this too, which was they're policing like normal and they get a call in and it's a bunch of hippie folk scrounging around messing around about the recycle bins at the supermarket and I'm like, of course it is. Of course that's the kind of shit they have to deal with hippies switching recycle bins. Let's go bust them like the roof roof up and let's go chase them down and here we go. I mean, yeah, it's a sequel set up but like you don't really need a sequel, right? I mean, you got the whole film, you get these characters and that's hot fuzz right there. A couple question or just little tiny anecdotes real quickly here. They said that over a hundred action movies were used as inspiration for the script. I've just like a ton to just be kind of drawing and like scene sequence characters, little moments or wild bunch, point break, you know, all of that kind of stuff. And I thought this was interesting. So Edgar Wright wanted to write and direct a cop film because there isn't a tradition of one in the UK, every other country in the world has a tradition of a cop action film except here. And when I thought about it, I was like, he's kind of right. I mean, there's not like the UK like lethal weapon, but like in Japan, I mean, Jackie Chan was making like police story and there's cop movies there. There's cop movies in Taiwan and all these other places in Mexico and Italy, especially it was like the Italian crime genre is just like there with the jillows, right? And then here, I mean, dirty Harry, I mean, through the years, we're making cop movies. So he was like, we don't have like the UK like buddy cop movie. So that was one thing he wanted to do, $12 million budget, $80 million gross. Hey, I'll give a little per 12 million is a decent amount to spend on this time. We're not 30 40. I mean, we're still within reason, right? It's the second part of what they call the three flavors, Cornetto trilogy. So the Cornetto is the ice cream, right? It's part of called the blood and ice cream trilogy before, but like that ice cream is kind of like a staple throughout all three films with little winking and nodding there. And then my last note here was parts of the film remind me of the wicker man. So I'm glad you brought that up already. Yeah, sure. Tasting note, moment scene sequence of hot fuzz. You know, I was really shocked. I don't know if it's my favorite. No, that's the wrong one. That's going to be the. Oh my God. My favorite tasting goat. Do you have one? Go for something. Oh, yeah, it's it's the Romeo and Juliet play. It's so ridiculous. It's just watching the shot reaction shot of Simon pig reacting to this acting atrocity. It's a great moment of comedy and it's it's just get this guy is just appalled and everyone else in the audience is has no reaction to it. So I don't know what that says about it, but his a guest faces enough to just, you know, bring me to hysterics. So I'm going to cheat a little bit. I'm not going to say moment because that would be singular. So let me give you the montage and I think. One of the important pieces of this film is how we meet angel and it's done in a rapid fire, machine gun drums, love gun style by kiss, where right, I don't know what a minute half, maybe two minutes goes through all of the accolades narrated by angel on the accomplishments that he has achieved that make me in a quick, efficient manner, come to understand that I am in the presence of super cop because that ends up being what saves the day for the whole group is super cop. And that's done. You know, we talk about the inciting incident and what an important piece that is in the film, because that's what starts us on our quest. This is your opening scene. Yeah, what's equally important is the opening scene and the introduction to the protagonist and how I come to know them. And this is a really, really smart way to write it in, I don't know what, four pages. So I mean, if you think a minute is a page in a screenplay, this is maybe two pages and wrap it, wrap it, wrap it, wrap it, wrap it, wrap it, wrap it, wrap it, boom, boom, boom, boom, boom, boom, boom, boom, boom. By the time we're done, you realize like, oh my gosh, I'm among greatness with this, this is the greatest cop that Robocop never was. One of the things kind of to that, and though kind of the rapid is kind of seeing the same shot and scene a few different ways, like he's interviewing, and on his notepad interviewing people in like Piccadilly Circus, and then in like London's version of Chinatown. But it's the same shot just different people in a different demographic. Yeah. And they do that later when Broadbent's showing him evidence room, locker room, armory. And it's the same room. It's just, it just looks different. But the way that he opens it closes, it opens it closes it. The armory room has like an armadillo running right in the book and there's something because it's not being used, right? When have we ever put on the riot gear in this, in this town? Never. Never. Great choice. Great choice. What is the moment of hot fuzz? Yeah, go ahead. Yeah, it's that part when the church spire falls through what's his name's head and body to messenger. Yeah, it's brutal. It's a wild, I mean, there's been flashes of violence in the film, but that's like in broad daylight, everyone sees it. And I don't know how I would be puking my guts out if I saw that in real life. It's insane. It's just this thing. It's just on his head. Yeah. And he's walking around for a little bit as he's just squirting blood out. It's totally macabre. It's just like, but then oddly comedic, it's so hyper violent that it's just like that would never happen in real life. In reality, I mean, it would crush everything into a jelly. Have you ever, this is a weird question. Okay. Have you ever actually seen a body like right after they like on set of death? Not like that. No, not like that. One time, a friend and myself witnessed an auto accident. And this car got t-boned. And as the other car was sort of putting the pieces together, we ran up to the car that got hit. And in it were two people. Yeah. And they were both gone. And what I remember as my friend doing is he put his hand on the driver. This is so dark, but made me think of it a little bit when he brought this up. He put his hand on the carotid artery and the driver's neck. And he's like, he's gone. And I was like, he's gone. And then walked around to the other side and did that to the passenger of this young woman. So you're walking up to the car? Walked around it because they were, I mean, they needed some help. It was right there. Yeah. And they were both gone, Jesse. And it was dark. I have a lot of problems with that type of like real world, like grimness. Yeah. So if it's a video or just, you know, whatever, I just like, I don't need to be seeing like that. I can handle the horror films or something real about that. That is too much. And this particular scene kind of balances like, oh my God, this guy just got his head crushed. But then the comedy sets of like, it's almost loony tunes and it's insanity. But dare we say necessary to make it not be so grim and change the entire tone of this film? No, I think that's the genius of Edgar Wright is that fine balance of, I'm not going to take it too far that way where it becomes a drama and I'm going to take it too far that way where it's not funny. It's this perfect like balancing act of writing and comedy of, it's going to stay in this line and you're going to find comedy in this and also be squeamish about it at the same time. Is it because right through the prior to this death of this reporter has created dare I say lovable idiot that's entirely disposable because he's so worthless? Absolutely. Yeah, this tape. Yeah, he can't spell angel from angle and it's just, yeah, disposable idiots, though, appropriate term. Interesting. Who's the master distiller on hot fuzz? That is a no brainer. This is right. Ball screenplay directed by it. Yeah, it's right. You want to peg certainly honorable mention that might be where you're going, but it's this is Edgar Wright. So no, yeah, Peg's good. Frost is good. Tdalt is fantastic in this movie. I even like Jim Broadbent in here too. Oh yeah, Edgar Wright with the bullet. It's, you know, his finest directing job. It's just he's in such control of the story, the execution, the editing, the writing. It's fun. It's light. It's fast. It's, it hits all the beats. And yeah, I don't think it's directing style gets, you know, louded as much as it probably should. And this to me is, you know, still his finest hour or so. Allow me to go first here. Yeah. Rate the films. Well, you know, we have Rocket well called single barrel and tippy top shelf. And this is top shelf for me. This is, you point break was a top 10 for you. I won't go top 10 because my top 10 is just out of control and just alien and the thing and Batman's and yeah, vertigo, things like that. Top 20 for sure. This is a film I watch frequently. I love how I discovered it. I like how I rewatch it. I pick up on new things, even like in today's viewing. It's funny. It's referential. It's exciting. It's funny. It's, it's one of those films where I'm just like some of these things that they're doing and we didn't even talk about all of them. But there's a moment what they're, they're, they're investigating the charred remains of George Merchant. And he's on the hood of a car over there. And the two Andes are sergeant, Nicholas Asway and cut consternment, a astable or something. And they're giving it to him and they leave the scene and there's a dramatic boom, boom. And it's as they're leaving and they're kind of giving him a glance and each character gets one. But then the other Andy pops back in for one more boom. Why? I mean, why other than to just make me chuckle? It's that type of stuff. Yeah. Absolutely top shell. This is my favorite Edgar Wright film. It's all by on the hill that this is yards and yards better than Sean of the dead or any of the other stuff he did. Real close contention for me with Scott Pilgrim. That's a very different type of comedy and we're referencing a lot of video games and stuff there. And I really like baby driver, but this is number one. This those other ones won't make the top 20. This is yeah, number one here. No idea that top 20 for you. That's a big this is a big film, dude. Wow. I had no idea. Okay. I'm not going to get there, but I'm going to give it an equally valuable rating. And this is single barrel for me. I think this is a really unique watch. I have not seen a film like this. And I'm going to give this an acknowledgement. Dry British humor leaves me cold. That is first of all, ad nauseam. We've talked about how that is not my go-to genre and that speaks more about my character and flaws there than anything else. But when we were discussing this early on when with the cast was being built and he's still finished with this and I was like, Oh my God, we're going to do fucking dry British humor. And it's a great and you know, he's a good writer and all this. But I was a little bit dare I say trepidatious entering this viewing. I didn't know that it was as high on the ranking as you said it was, but I knew that you had some affinity for it. And I was a bit worried coming into this like it was going to leave me like, Oh man, I'm going to find this hard to be yucky. And like, very few yucks, not yucky, but very few yucks. A couple of out moments for me, a couple of think piece moments in there, director or totally in charge of the story. Well shot, interesting characters. They took an environment and made me care about the environment. Yeah, this was unlike anybody cop film I've ever seen before. And the fact that he also chose to tackle it as the defining version for the UK audience. I also widely applaud and acknowledge Top Shelf for me not Top Shelf single barrel for me. Yeah, sometimes that's a more important rating than Top Shelf also. Sure. Well, I'm glad I was glad I was able to show this to you and kind of yeah, we could talk about talked about a lot of interesting avenues and into this film. But yeah, check it out if you haven't seen it. It's especially if you've seen the least shot of the dead, which I know a lot of people have. But I just think this film is a little smarter. I think a lot funnier too. And the more you kind of come back to you just pick up on those little nuances, like, it just the unintelligible bit sometimes you watch it with the subtitles on next time you might pick up on just a little thing here and there. But yeah, it's a really funny watch. But me sitting there at my grandparents, I was watching this that afternoon. I was just like everything. It was like the perfect environment for me to just like totally accept something blindly. And I don't get to do that unless I'm seeing it in the theater, which is always a blind watch. But when do you very rarely do you get to have like blind watches like on something you bought that you're like, I hope this is good because then this is just gonna sit there. Yeah. So thankfully that one played out pretty well. But hey, to your rating, to your rating. Let's wrap this up with the nightcap. And no T-Rex and Edgar Wright is I think a big fan of this band, which I really like because I always feel like I'm a weirdo for liking this band. But yeah, their music shows up in just about every one of his movies. All right. So nightcap this week. So this is kind of a it's a part of a trilogy. It's a second part of a trilogy. So that kind of got me thinking about sequels, particularly action movie sequels. So real quick, top three favorite action movie sequels. Give some leeway here. If it's if your film strays a little bit sci-fi or adventure or post apocalypse, by all means. So I think we might have the same ones on a couple list. Okay. So one my three dozen number three for me does not. It is a genre to genre action to action. And it's even in the same cast. We just covered it in sleethal weapon too. Somebody will do it. Lethal weapon too is fantastic. Arguably, I would be, you know, when we would do that and had the right eyes to really pay attention to that, if they could give number one or run for its money. Because I feel like it really could be that everything's established. And the villain is kind of a little bit better. Joss Auckland and that kind of like weird, like immigrant terrorist group. It's a little by hard. There's a lot of scenes that I always remember. I'm like, that's lethal weapon. I'm like, no, that's lethal weapon too. Right. So good choice. Thank you. Thank you for you. My number three, it's a film I am dying to do one of these days on the podcast. It is the raid two. The raid one, the raid redemption is actually a single, I know you would love that movie too, because it's a single location, apartment building, police, siege, shoot 'em, beat 'em up. It's awesome. It's so good. And the second movie is a lot more dense. It's lengthier, but the fighting in that film, it will just leave your jaw on the floor. It gives, it puts John Wick to shame, which I don't want to say because he's going to show up a little bit later on this list. But the raid two, Matt, it would, it'll leave your jaw on the floor. I guarantee you that. So one day, one day. With that lead in, my friend, you just stole my thunder. Number two at number two is John Wick 2. And I can make the case for number three being number one on this list. Yeah, John Wick 2. We're going to have to someday, I mean, really, really, really dig into that. Oh, have we already done that? We have. Oh yeah, go back and look at some previous episodes, not to cover it again here, John Wick 2. Well, not to steal your thunder, but to steal my thunder as well. John Wick chapter four checks in at my number two. This is a film we did last spring in March. It was a film I think I gave a single barrel to a great time with it, but I've watched that film since that episode at least three more times. And it's in top shelf territory. Not only my favorite film from the series, but one of my favorite movies ever. Not top 20, it's not getting into the lot fuzz territory. But chapter four is exceptional. And I keep trying to tell people to watch it because I don't know how many people have made it that far into the John Wick first. Have you gotten to chapter four yet? But if you haven't, what do you wait? Why would you stop? Four is almost three hours long. And man, it just nonstop. Do we think that quality content through four films, like take all of the franchises that have gone for deep and with the maybe Rocky might be an argument here is John Wick one through four, maybe the best that's ever been of any franchise? I mean, it's hard to look at all of like one through four, but there's you take film franchise that have gone at least four entries and there's at least one shitty entry and one through four. Yeah, they all kind of get somewhere it gets fucked up. That doesn't it's close. I know it's pretty good. The problem, the only problem, I mean, the universe itself is unique. The films themselves sometimes blend into similarities of, well, of course, they're going to be shoot them ups and chases in this. So that's where you have to really separate yourself out. But I still think that film even does a really great job. And especially in four because you have that great bit in that like art installation with like the guys with the armor and then you have like a scene later in like a birdland nightclub with like water just coming down on you and then you have like that scene in Paris at the end and you have like overhead shotguns and the art to triumph and the staircase scene and the stuff asked of Keanu in those movies and particularly in that one is just like, wow, I really come around and I don't do that often on the podcast. I don't really like I'm not going back and watching Zack Snyder's Justice like three more times. But I keep having this itch to go back. I'm like, I want to watch John Wade chapter four again. And I do and I'm like, wow, it keeps growing. I think that's the power to that franchise. So nice. Number one for me. Number one. I think arguably better than the first one that's T two. I think the T one Terminator is just science fiction. This is action. Yeah. So yeah, T two, we've done that one too. So I'm not going to rehash it. We did that cover it on the show. So T two. Yeah, I have a bit of a conundrum here because that one also made number one. But then I have two other films here. And that was do I go sci fi action? One of them is a singular turned into the plural I bet. Yeah. Or do I go plural action? So born ultimatum was floating around there for me, which another series I would love to do one day. I'm going to go Mad Max Fury Road. I thought for sure I was going to hear aliens come out of your mouth. It's a little too sci fi. Okay. I mean, at least Mad Max is, you know, we're blowing stuff up. We're going to card chases. That still feels more action action than like aliens is like kind of doubles in horror a little bit too. Okay. But oh yeah, Fury Road with the bullet. I thought about the road warrior for a second. I'm like, wait a minute. Are you crazy? I was like, Fury Road's better than the road. And Road Warrior is a great movie. That's a great sequel. But then if I have four to choose from, I'm picking Fury Road any day of the week. I mean, that horse is going to beat many horses no matter what the race is. So yeah, I rewatch. I still haven't seen Fury Road. So I got to come on, man. I know. I know. I just I'm missing the theater. I got to rent it or just maybe I'll blind buy it like the hot fuzz days. It's good. But I rewatched all of them prior to that. And it's wild that like one's good, but weird and strange. Two's solid sequel. Three's a bit of a miss. It's almost like a hook. Too many kids, the teen of turns. There's a lot that don't work there. For Fury Road to turn out as good as it did is a miracle. It's just it's a completely different beast than the other three. Yeah. And watching that one again, I was like, yeah, of course it's who couldn't love that movie right there. I don't care if you don't like post apocalyptic shit. You're going to get behind Fury Road that that's going to get some your heartbeat racing or the blood pump. Something's going to happen. Sure. So good list. So yeah, if I get to dabble into post about honorable mention, I like Rambo, the fourth Rambo film, I kind of float around there. I really like Mission Impossible Fallout, which is the sixth of film in that series. It's the one with Henry Cavill in the mustache. But if we're talking sequel sequels, of course, I could rip any Bond film out, but like, I don't really consider those sequels because they're almost kind of like their own thing. So I can't just throw you Skyfall on a wind that wouldn't feel right as like a sequel, right? Or something like that. So die hard to I'm I'm a big die hard to fan Jaws to. No, you don't like just I like Jaws to, but it's not an action. It's what is that drama creature feature horror film a little bit a little more hory. Just I don't know a little bit more horror. Yeah, a little more horror. It's a different genre there. Well, hey, Matt, this cast has been fun. I mean, five weeks of buddy cop fun, you know, two new releases in there. But we're getting to a cast now that you and I have talked a lot off Mike about. And we kind of have an opportunity to kind of dabble into this a little bit, which is if you can come with a better name, please tell me, but I'm going to call it the not quite ready for primetime superheroes. Yeah. Superhero said it's not DC. It's not Marvel. It's it's kind of its own thing, but yet they they come from the pages of comic books or specked from like, this is a superhero we're making. Actually, another one I'm considering adding to this thing is totally specked. But we got to talk about one. Mr. Gen X yourself, I know you're going to appreciate this. Let's do the crow. Let's do the crow. The OG crow, which is going to be a perfect setup for next week because that's going to set up the summer winner and loser, which is going to be already determined. It's a little bit predates the new crow that's coming out, but I don't think it's going to be it's going to track down twisters for you. So I think we already have our winner across the finish line for the summer, which would be you. Okay. Regardless though, this movie is still an interesting discussion. And I think one of the things it's going to be fun to talk about with this film is what was and what never did happen with this for a lot of different reasons. Yeah, both sadly and executively. Yeah, franchise. Why? Yeah. It's been a hot minute since I've seen this movie to Brandon Lee. I think most people I think know the story, but we'll tell it next week because I think that's an appropriate part of this film's history is what happened during the production of this movie and kind of the weird parallels to his dad and game of death that that's very bizarre. But Ernie Hudson also in the film, you said something there though. That'll be our flight next week. We'll decode the summer box office. I mean, we won't put the crows total, but I mean, the crows got to like clear 250 million. I don't know if that's going to happen, but we'll talk a little bit about some of the hits and misses, some of the things we like, some things we didn't like. Yeah, we'll do that for our question next week boat. Yeah, so 90s era superheroes. So if it wasn't a Batman movie, it was one of these superhero movies. We're not going to do it, but like, the blank man was floating around in the 90s. Donnie Darko, not Darkman. Yeah. Yeah. So some of these might pop up, some might not pop up. This will be a fun little cast. Next week's a big week too for everybody that, you know, is keeping up and has been kept up this whole time. There you go. 250 next week, proper. So this is not night caps or the Patreon. This is just right proper. 250. That's a lot of episodes. Five years, Jesse, almost. Yeah. Wow. Absolutely. Good job to you. You. Hey, I got to get going. Hey, do you want to come with me? I was going to go to the shop. Yeah, but I was thinking of a different shop. I'm there. You can get the ice creams while we're there. If I can jump over that landmine that's in front of the door, though, or see mine. Don't trip. Hey, we'll see you all next week. Have a good week, everybody. We'll see you in the dark. Thank you for listening to RySmile 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 RySmile Films merchandise, go to teapublic.com. Hot Fuzz is property of rogue pictures, universal pictures, studio canal. Working title films and big talk productions, and no copyright infringement, is intended. Until next time, cheers to engrossing death. Here's to my love. [Music] Poison! I'll kiss thy lips. Appley some poison, doth ya hang on him. Bang! [Music] [BLANK_AUDIO]
