Out Now With Aaron and Abe
Out Now 594: Never Let Go & Transformers One
(upbeat rock music) - We are now recording and this is out now with Aaron and Abe. I am Aaron and as always, this is... - Abe, Aaron, you look very three-dimensional right now. - That's one way of putting it, to sure. Because yeah, we're in the same location together. - For another special out now, in the car. - I like how our specials are. - We're next to each other. It's like there are podcasts that have offices, it desks where they sit right across to each other all the time, and we're like, ours is special because we're doing that. - Well, you know, first of all, we're hipsters and we were remote before it was cool to be remote, so. - Exactly. - Although, it does surprise some people that we said that we, when I reveal that we are, we don't, that we don't, that we're not in the same place, it speaks to our tremendous chemistry. - And also to the quality of our microphones, I think. - Like that, yeah. - They sound like they're in the same booth, right? - Yeah. - How are you doing? - I am doing well, thank you for asking. A little tired, but at the same time, doing great. - Good. Club, I'm doing well, I'm happy to see you. - Yeah. - Yeah, with a beer in person, doing a show with you. - You wanna explain where we are? - Do I? (laughing) - No, we're just like, we're outside of a movie. - Yeah, exactly. - We've just come from a movie we're gonna talk about. - That's right. - And we're now recording from outside the location. We're basically trespassing, that's really what it is. - We paid for snacks and the tickets. Come on. - That's fair. - We're patrons. - Okay, well out now is a film pod. - Oh, right. - We're even at its best new movies lately. And yeah, that's what we do. I don't need to go through all the intro. I don't have all this stuff in front of me. That's what it looks like. (laughing) I don't know what we do. This is, this is, this is week. - But this is episode 594, 594. - Hey, we're on Mr. Palindrome. - We, we're almost at the American Palindrome, correct. And this week we're talking, never let go. The latest from director, Alexandra Aja, starring Halle Berry. And yeah, that's what we're gonna do. We're gonna talk about that movie. - I was like, yeah, I guess the other kids are pretty small. - Those are the facts. - This is true, Jack. - And yeah, we're gonna do all of that. - First, let's get some show notes in here. It's the middle-ish of September, between October is right around the corner, which means that we're gonna have our special bonus horror-themed episodes coming, which is something fun that we always do. We'll have a commentary. We'll have four other episodes that are all dedicated to horror in some capacity. And stay tuned, you'll hear all about those in the coming weeks, but we've got some cool ideas. - So, Bead, as a chew and tell IG-4-1 said, be prepared. - But he hasn't said it yet. - He said, he did say it. - Oh, I said it in the movie. He didn't have billion dollars. - Okay, okay. - He's not back. - That's true, good point, good point. - Yeah. - Also, it's an origin story. - Yeah. - Yeah, so he wouldn't say it yet. - So if Gerald Jerome, who's voicing young Scar, also says it will be like, he got that from his old himself? - Yeah. - That's how it works. - It's a cliff-tanning situation. - It's a real cliff-tanning situation, exactly. He gave the lion all of a neck and told him that-- - The lion all of a-- - Yeah, the Detroit lions. - Yeah. - The key phrase. - Hold them to bed on the Detroit lions. - Yeah, that's all of that is true. - I didn't know this old man. - It's great that we hold these shows way more seriously when we're together with the car. (laughing) - All right. - All right. - What else? Other show notes, Edward, commentary track. We just released that super fun, super informative, I think. A lot of good info in that one. Brandon Peters, Scott Mendelssohn, and I, we talked all about Ed Wood for this month's commentary track, so check that out if you haven't already. And if you did, I hope you liked it. And if you did like it, you know what you can do. - You can go into iTunes. - You can search for our show out now there today, but you can give us a rating and review. - Which would be great. - Thank you so much, Ed Manz, for giving us like some stars on the bottom. - Yeah, stars, all that. We just got some real, we got one recently, which is really nice to see. - It's really cool. - It'll be great to have that lead into a lot more. - Yeah. - So yeah. What else, oh, let's see. We're talking about, never, never let go. Yes, there, I, there's no official plan yet, but we'll see how this episode turns out. There might be another special guest on talking about another movie that came out this week. - Yeah, I get one. - We'll see where things go with that, but for the time being, we're gonna talk about this. - It might be a two for us, what you're saying. - It might be a two for us. - Yeah, okay. - I don't wanna make two new promises before we actually record set other artists at two but we'll see what happens. - Yeah. - And we'll see what happens. Let's, let's get to some other quickies. - Trademark. - Each one that we will be able to start by the lead of those other quickies. - Trademark. - That was fun. - That was great. - Let's, well, what else, what's going on? What have you seen recently? - You know what, I started watching? - What? - The last season of Miracle Workers. - Oh, the Mad Max season? - Last, like, you know, cyborg. I got to the middle of this, of the season where she's, they're doing the Ace Ventura play and I was like, this is art. Honestly, I was like, this is exactly the level of goofiness and also the level of fun that these actors aspire to. And you know what? When she was doing Ace Ventura on the stage in the Thunderdome, it was beautiful. It was beautiful to watch. I have to go finish the rest of this series but I'm digging, you and I have dug Miracle Workers from the jump but I'm glad that I'm finally catching up but I'm also kind of sad 'cause there's no more Miracle Workers after this. - It's a bummer. - It's a good show. And the fact that went on as long as it did I'm impressed by it. - I also agree with that because I don't know actually who watched it but I'm glad that it got four seasons and four full seasons according to the number of the dad there. Now, the other thing I'm watching what's back is Bob's Burgers and you know what? It's fine. Like, I don't think the episode that I watched through the new season was ultra good but, you know, it takes some time around the Christmas holiday season. They tend to like, they will drop one or two episodes per season that are very moving or very incredibly well done. And maybe they're just saving it up. So yeah, just a lot of TV catch up. - Or maybe people just like it more than you do. - That's true, a good call. Also, you know, I also watched, speak to evil but you and I talked about it for like 40 minutes. - Yeah, we had it over the phone. - We had a conversation we definitely should have recorded. (laughing) I was like, wait a minute, I'm talking about TV but I watch movies too. And it's because we were already talking about it. I'm so spent talking about it. - Well, you weren't here on the show last week. What did you, to briefly sum up, what did you think about seeking evil? - It was fine. I think that I liked it maybe a little bit better than you did and I think that there were a lot of differences from the European version and this one and what you and I discussed and what I was talking to you about was some of the European sensibilities that kind of add to the horrificness. In large part, the American one, less sad and bleak than the European one 'cause the way that the European one ends, the Scandinavian or Danish one ends, whoa, like, I'm just like, this is, I feel bad. The American one, like you and I talked about it, a lot of tropes in the third act and a lot of like cat and mouse kind of chase. So it was fine, but beyond that, I'd probably say like, check it out at like a dollar theater or check it out on premium stream. - So yeah, that's me. - Yeah, all right. - Oh, thanks for the support. - I mean, you can see like, probably like, I think it's a bad movie. So yeah, you like it more than I know that's clear. - I, yeah, I get why some people would like it. - Oh yeah, I get why people would like it. There's wrong, that's the-- - I thought you said on the bottom of the show. - Yeah, 'cause I'm right. I've seen a few things this week. I saw a film about a woman living in a slightly dystopian world where there's random things of evil coming after her and she has to kind of avoid it so she can survive in this terrible place. It's called Asriel. Very similar to the movie we just watched. - I was like, you kind of jokingly describing the movie we just watched. - I am, because yeah, it's a movie that's very similar. It features Samara weaving in another role where she just enjoys getting covered in blood, I guess. She seems to be something she tends to do. This one director, E.L. Katz. E.L. Katz is a filmmaker who made like, dark comedic thrillers such as cheap thrills. I feel like quite like-- - Yeah, yeah, yeah. - I watched this movie not knowing anything about it beyond the fact that it was directed by E.L. Katz. And I was very surprised and it was nothing like any of his films that I've seen before. So I was not prepared for what this movie had to offer which basically felt like watching last of us part two DLC spin-off content, that's what it felt like as far as woman in the woods, seemingly infected type people went around and also humans that are evil coming after her. - Okay. - Again, you're not describing the movie we just saw. - Yeah, I'm not, it's only loosely similar. And the fact that they're coming out very close to each other as a coincidence. - Yeah, this is a very, this is like a Armageddon and what was the one with the Ledgerwood? - Yeah, deep in the back. - Deep in the back, yeah. - It's one of those situations? - It's one of those situations. - Got it. - This movie or Ezreal which will be on Shutter soon. It's like at theaters next week. - Okay. - Like it's fine over, it's like under 90 minutes so it keeps up its tension well enough. It's just not offering a whole lot that's necessarily new but it certainly has a vibe to it as far as seeing kind of survival horror stuff play out. And some are really looks quite good. She has to be mute the entire role which is also, you know, never easy to imagine. It certainly seems like a challenging role to kind of be put through. - Yeah, our other speaking or every basic preview? - The idea is that the world they're in, most people are mute some, there's almost no dialogue, it was really. - Got it, okay. - The only dialogue is for reasons but it's very, it's very specific. - It's like the idea is that the rapture is happened. That's why this dystopia exists. - So they're just clothing everywhere on the ground. - They're in the woods so we're not in areas where there would have been like heavily populated people. - Got it, okay. - Good way to save on the connection. - That's a real way to save a production. So yeah, I thought it was fine. Like it's one that you can certainly watch on Shutter. - Sure. - I also watch, I believe the, but Bargo will be up by the time this goes up. - Save 'em's a lot. - Really? - Yep, the movie made quite a while ago at this point that got shuffled around, it was eventually moved out of the theatrical schedule and now is gonna premiere on Max in October. It stars Lewis Pullman, Bill Camp, among others. - Good casting car. - It's got a good character cast. It's directed by Gary Delberman who made the third Annabelle film and I believe he's the writer on the it movies. - Wow. - And there's been a lot of speculation as to why his water brother's not degreasing this movie. What's going on here? Since it has a lot of credits and things that seem to be working in his favor. - You're on, I'm on the edge of my scene. - So I'll say this, I have no connection to Salem's Lot. - I didn't read the book. I never saw the Toby Hooper miniseries or the Rob Lo miniseries. So I have no wherewithal of what no Salem's Lot is beyond It's about vampires. So watching this movie, the biggest takeaway I had was it very much feels like it's been truncated down from a much larger story that has better characters and more explanation or at least detail about what's going on exactly. - It feels like these things happen to all Stephen King movie and none of them. - Not always all of them, but ones like this where there's semblance of a better film here and that's just not what we're getting. I can see why it's been dumped to Max. Like it just doesn't overall, I think, work. I do think it can be quite stylish at times. It makes some directorial choices where it's like, okay, like there's some visual panache going on here. There's some uses of like silhouette and candid angles of things where it's like there's, it's not just like a stock directed movie. Like it has some effort being made to be like, let's make this look a little stylized. - Okay, good poster. - Yeah, like it's got some cool moves. I didn't hate this without any means. It's just kind of like it kind of sags in the middle. And again, it feels like there's stretches where if I was watching a fully fleshed out version of this, I'd probably like be into what the story is more, but as it stands just very familiar as far as there's, certain character types that I get. - Sure. - There's vampires that do things because they're vampires and so on and so forth. - Yeah. - Are they cool vampires? Like Colin Farrell, like drinking Budweiser. - When you say, you say cool, you'll be cool looking who like, oh, their Addis is pretty fun. - Yeah. - Hey guys, I love this guy. - He's like, hey, I know that you're underage, but you want a beer or a no, a neighbor of mine? - I mean, the way you're asking them kind of like, actually yeah, they're kind of cool. There is this kind of like, you want to join us, right? You should join us. - Oh yeah, that's a lot of boys stuff. - I mean, that's kind of what it's doing. It is, they're kind of like, very inviting vampires. It just seems like they're also, you know, not very, doesn't seem like that, like that's the path you want to really want to take. - Yeah, like it seems like it's a pretty high price to become, join the record. - Just to be clear, I've made it, I've said a statement that's, it's probably not good to be a vampire, just so you're aware. - Why would you say something so controversial? You have to brave. - Just a real, a real, real hot take there. - Probably not good to be a vampire. - Probably not good to be a vampire. (laughing) - So like, yeah, I can see why it's going to max. I don't think it's a waste of time, but I do have reservations about what it's doing. - Got it. - That said, I am more curious to be like, I'm gonna finally watch the Toby Hooper version because I know that one people had a lot of praise for. - Okay. - So yeah, that's Salem's lot. I also watched this other thing. I'm definitely gonna tell you about it right now. I watched Uglies. - What is this one? - So Louis Mendes talked about this last week on the show. It's the Mick G directed YA dystopian show. - That's why you guys are trying to make G, okay. - Sorry, Joey King. - Oh, this one, okay. - It's bad. (laughing) It feels, for one thing, it feels like it's 10 years too late. - Is it a movie or a series? - It's a movie. It's based on a YA book series. - It looks like it. - It looks exactly like it. And it feels like, like I just said it. So it feels like it came, it's come out like 10 years too late. Like, why are we still doing this? The, even trying to describe what like the premise of this one is, is bongers to be. Because it's like a future society where there's people that I guess are just ugly and they have to aspire to be joining a world where they can get all the plastic surgeries they want so they can become not ugly. - Oh my gosh, okay, keep going. This sounds just like a terrible adaptation of what they clearly missed the entire point of for Brave New World. - Tell me to keep going. It means that I have to like understand more of what this one is. - Well, it's like, it's not good. So you don't like, you would not recommend it. - No, it's bad. It really let me down from Mick G. (both laughing) - Famously, you're, you know, you don't hate him as much as other people do. - Is that famous? - Kind of. - And what are the things that I like for Mick G? - You know, you liked the sort of the shield movie with the, what's his face? The what movie? - The last night of the round table in the world of the thing there with the diver guy from Fest in the Furious. I can't remember his name. - What? (both laughing) - Nevermind. - Keep going. (both laughing) - Keep going. - Oh no, that's not, that's not him. In the name of the king? - In the name of the king, that's like an ooey bowl. - Yes, yeah, okay. I'm mistaking Mick G and ooey. - All right. - Keep going. - I watched the outrun. - This sounds very familiar. - It's with Sierceronin, it's been a lot of festivals. It's coming out soon enough. - Don't tell me too much, I want to see this. - I won't tell you too much. I'll just say that Sierceronin's quite good in it. It's, I mean, she's Irish, but it's very, it's very Scottish film. So it takes place in like, in the Scottish Isles. - Okay. - And it's a, it's a, it's a well done drama. - Okay. - Here's the interesting thing though. I had the screening for it at the Dolby screening room. - Okay. - Not the Dolby theater, the Dolby screening room, which basically, you know, a room set up so it has the fancy Dolby set up and everything. And I was curious as to like, I mean, I'm not against having a screening in any place, but the Dolby screening room is like, why would they show this movie a like sobering drama about Sierceronin dealing with things? - Yeah. - And then when I watched them, like, oh, I actually, I get it. It makes good use of sound for, when you see this movie, you'll know why. You'll know what I'm referring to. - Okay. - Just a very, there's some very compelling sound design that takes place towards the climax and just throughout the film. But there's some choices it makes where like, oh, that's actually cool that I got to see it in this specific location. - Yeah. - It doesn't make the movie like supremely better or worse, but it is like, oh, okay. This actually justifies the use of this room for this specific movie. - Okay. - Which I appreciated. - All right, well, I'm gonna go check it out in Dolby. - It overall good movie. I mean, it's, it's well acted for sure. - She's very good in it. - Yeah. - She's being getting some buzz, probably some awards claim then that might, if that's true, then great. You know, she's been nominated since she was like 12. - Yeah, you can get her fourth Oscar nomination. (laughing) - When will she win? - Fourth is me being conservative. It might be, she might already have four. - It might be five. - I'm pretty sure she has three. - Yeah, I know that she is. - Yeah, I think she's got three. - Let's think of it. Let's see, she has a tournament, Brooklyn, little women. - That's three. - Is there one more in there? Like, what would it be four? - Yeah. - Hannah, if we had our way. - Exactly. - We had our way, we were talking about her and like the fourth episode we ever wrote. - I wanna say three. I'm very confident with three. - I'm looking at it as you're, as you keep going. - You can scroll too far. - I know. (laughing) - Yeah, yeah, keep going. - Okay. - Oh, shit, there are four. - There's four, okay, hold on. (laughing) I gotta think about this. - Yeah. - Hold on, okay. - Oh, I should have known. - Okay, so there's two leading. - Are there three leading? - I can't give you any clues. - Okay, fine. - Okay, so-- - 'Cause then you'd get it immediately. - Okay, so atonement, little women. - Yes. - Brooklyn. - Yes. - What is the movie that you and I both love? - Both love? - Takes place, not far from here. - Oh, of course, Lady Bird. - Lady Bird. - Yeah, there we go. - Yeah. - Okay. - We're not in Sacramento, but we are Northern California. - She has four nominations. - That's incredible. - That's incredible. - It's more than me. (laughing) - Oh, right, I'm looking at Erin as if I have five nominations myself. Like what a loser this guy is. (laughing) - Okay, so this will be your fifth combination, presumably. - Possibly, yeah, we'll see. - All right, the last thing I'll mention, Wolfs. - Okay. (laughing) - Wolfs, with George Clooney and Brad Pitt. I have to say Wolfs, 'cause it's not Wolfs. - It's not Wolfs. - It's Wolfs. - Yeah, there's no there there. - 'Cause they're low in Wolfs, but they've been brought together in circumstances. This is a film featuring these two guys as fixers. Essentially, Amy Ryan has had some kind of accident. There's a young man in her hotel room, and so whoever she calls on to bring in a fixer. George Clooney arrives, he's like, "Okay, I'm gonna fix this problem for you." Then Brad Pitt shows up and is like, "Actually, someone called me as well." So this is two guys that generally work alone, and now they have to reluctantly kind of work together to deal with this whole situation. - Yeah. - The movie's directed by John Watts, who's made all of these Spider-Man movies. - With Tom Holland. - With Tom Holland. - Yeah. - Before that he directed "Cop Car." So this is first movie like a decade that's not Spider-Man. - Okay. - And it's produced by Clooney and Pitt and Soderberg and Brad has loved all those guys. - Yep. - I think the movie's fine. It works as like a... - I had a good two for now, try to think of it. 'Cause one is after hours, 'cause it's like, all one long night. But after hours by way of blank movie that I can't remember right now, except that is good. The thing that you want from Clooney and Pitt is their chemistry, 'cause obviously they work very well together. - Yeah, as we've seen in the "Ocean's" movies, they know how, but... - They've also been in other movies that Clooney has directed as well, but you know, small bit parts. - The issue here is because these guys play these loner characters who are trying to cold onto that persona, their chemistry, like it's denying you what their natural chemistry is. - I see, because they're so frosty with each other as characters. - So like it's not as fun to watch them together, despite there would be trying to be a kind of, I don't wanna say dark comedy, because it's never like too serious, but it's certainly like, it's a low-key comedy. - Got it. - And somewhat a little energy, which is also kind of the issue. Like it-- - Is it a long movie? - It's no, it's like an hour 48 with credits. Like it's fine, and I think it, I don't like, there's not much it's really accomplishing. Like it's giving you this New York world that these guys exist in that's weirdly underpopulated for being mostly at night and in New York, but that's besides the point. And I mean, it's amusing at times, and in the middle of it, there's this like really fun like chase sequence that takes place. - I think I've seen parts of it in the trailer. - You see parts of the trailer, yeah. But it's a pretty long chase and pretty well made. But like, overall, there's just, there's not a lot there. And you kind of like, you're kind of waiting for more to arrive from this because it has the potential to do a lot with what it has working for it. But it just never quite gets there. So like, I don't dislike this movie, but I do think it kind of, it's missing a certain something extra to make it more of like a fun romp. - Yeah, in the writing, or like there's no action in the, or there's like not being like in the directing? - I would say the writing, I guess. Like the direction's fine. - Sounds to me like, is it missing a Soderberg? - I mean, if, I'll say this, yes. If it was in the hands of Soderberg, I think would be able to make up for whatever the script's lacking, just by nature of how other directors would like handle this material. - Yeah. - John Watts, God bless him for doing all he did with all that Spider-Man money he's made. But like, I don't walk out of those Spider-Man movies thinking, well, that's clearly a John Watts picture. So like him doing this, I'm like, it's nice that he did something that's not that, but he's not showing me much that like, suggests like-- - I've got a question for you. - This is the guy, yeah. - Okay, MCU directors, who's more interesting? John Watts after the MCU staff, or the Russos. Which one would you much rather watch him with me from first? - Well, I'd say John Watts, which because at least, at least, Wolf's is like aggressively doing something that I don't prefer. And also, I'm not seeing John Watts in interviews being like, you know what, Netflix? The best theatrical movie is dying. Like, you know what, I hate art. Like-- (laughing) - Touche. - All right. - Yeah, so I'd be by nature of that. John Watts hasn't made a cherry. - Yet. - And if we're talking-- - Well, he can't make it now, 'cause it took his leading guy. - And if we're-- Yeah, well, if we're talking just like straight up, like, audience-friendly feature, yes, I like Wolf's more than I like "The Gray Man." - Uh-huh. - So-- - So-- - Yeah. - So, yeah, I mean, like I said, it's fun. You know, despite them not having like, that classic ocean's chemistry-- - Sure. - A pit and cleaner. They're still pit and Clooney. They still know how to like, you know, bring the stuff that they can bring to a fair. - I mean, these are two of the most recognizable actors. And, quite honestly, I think that they still fall in my class of movie star, right? And so, you're right, you enjoy seeing them on the screen? - Yeah. And I know like, 'cause this was gonna get like a wide theatrical release, then Apple got pretty cold feet. Well, after having multiple movies this year, that just frankly didn't do very well with theaters. They, yeah, they backed off from theatrical, you know? Between "Fly Me to the Moon" and "Argyle," you know, having a feature film. - Yeah. - They're going to theaters once again, and not necessarily knowing if they could prove that they can make that last. I mean, that's unfortunate, and I don't necessarily think of events. The best strategy they could have chosen. - Right. - But here we are. - Yeah. - It was, yeah, that's wolves. - Okay. - Let's move on to "Trailer Talk." Sorry, that's enough weeks. - "Trailer Talk." - Let's move on, now let's move on to "Trailer Talk." We're talking about one of the movies we chose a week. What has come down, what we thought of it, what have you. And this week, we have a brand new trailer. That's right. - Yeah. It receives two colon pantara. - Is there a colon? - Of course it's a colon. - Okay, I don't know. I thought that there wasn't one. - That's just a big run-off, it's just instead of these two pantara. - I thought it was just like "Din at these two," and then like, not even like it sometimes, it's just like, oh, by the way, it's pantara. (laughs) - You're right, there's a colon. - That's a colon. - Okay. - 'Cause look at the poster! This is like, pantara down the bottom. There's no colon. - Well, you're not going to put bullets on the poster. - Yeah, it's aesthetically unpleasing. - Yeah, exactly. - All right, this is of course a sequel to "Den of Thieves," a film that definitely exists and definitely has fans. (laughs) It's coming seven years later for a film that didn't do well in theaters to begin with, but certainly has as something of a cult following. Abe, did you see "Den of Thieves"? - Of course I watched "Den of Thieves," man. (laughs) - Of course I watched "Den of Thieves." - So are you, are you based on what you're seeing here? And, you know, obviously the riveting way that the first one ended. Are you excited for "Den of Thieves" too, Cola Pender? - The riveting way it ended was a hilariously bad British accent from Ice Cube's son. - I don't recall that at all. - Really? 'Cause he's just like, "Hey, bro, "you want to drink in my bar?" And he's not gonna call the bar. - None of that I remember. - No. - I know he went to England. I don't recall him specifically using English accents. - He's got a terrible English accent. I'm just like, "What is happening here? "Why is it about this guy?" I watched "Den of Thieves." It's not my favorite, you know, cops and robbers type of movie, especially like with this grittier attitude. 'Cause this is like around the time like things like "Triple Nine" were coming out with K.C. Affleck. And there was like a lot of like, actors that were being cops, then tough cops kind of thing. I think what kind of makes the original one work is "Pablo Shriver." And that is something that we're missing in this one because if you watch the first one, something happens to him and it's unfortunate. But you know, what you do wanna get is a story. And I don't know if I'm interested in this story. Like Gerard Butler's character, we know what happens to him in the first one with regard to his home life. And then in this story-- - You remember this movie a lot better than that. - Yeah, because we know what Abad do as a homewife, like I don't know what Abad-- - He's like a bad husband, bad dad kind of thing, you know? - I mean, I can just guess that, but it's okay if you work. - Yeah, so there's nothing very interesting about his character that makes me feel compelled as a movie book goer to be like, you know, I wanted to learn more about Gerard Butler's character. Like, how's he fucking with his life this time? It's like, why, you know? Like, it also doesn't work if you have the concept of like a heist film in which I'm maybe rooting for the bad guys? It makes me feel weird. So-- - That's every heist film though. - Yeah, but there's some cool, we just talked about the cool guys over in "Ocean's 11." - But now you're picking and choosing which ones you choose to support. - Fine, fine, fine. It looks okay. I'm kind of interested, but kind of really not. How are you feeling about it? - I mean, I'm not gonna pretend that "Den of Thieves," the movie I like very much. - You clearly didn't remember any of the details that I was telling you. - Like, people, like, the cult following that it is a mast, which it has. - Yes, it does. - That's basically why there's a sequel, 'cause it does-- - The first one. - It does have a following, but they get mad at the idea of people calling it dumb heat, but it is dumb heat. I mean, that's the movie. Like, it's what's watching dumb meathead heat. I get that it has ideas for what it's going for as far as where heat shines for the many reasons it shines. Like, one of the ways it shines is the way it balances watching career criminals and watching career officers, career detectives. What "Den of Thieves" is at its best what it's doing is it's showing how fine of a line it is between these specific characters, where you have Pablo Schreiber at 50 Cent and their crew, and you have Gerard Butler and his crew, and he is walking the line of innocence. Like, he may have a badge, and he, like, his goal is to stop crime to some degree, but it is dealing with the criminality of cops. That is interesting, and if you're going to make a fall up to that movie, the hook here is that he's quit being a police officer, he jet fired, but he's no longer an officer. Now, I'm tired of riding this line, I'm just going to go straight up bad. Now, the obvious twist would be, he's been undercover the whole time. - Yeah, Johnny Broskin. - Now, I think the movie is going to be smarter than that if we can surmise that from a trailer. I think it can be. - Okay, all right. - So, that's my hope. - Okay. - And the realm of how interested I am in seeing a Den of Thieves, too. - Yeah. - One of my biggest issues of Den of Thieves, the fact that Gerard Butler is so big in that movie, is personality or physically? - Yeah, he just takes eight magic beans, and he's nine feet taller than that. No, yes, his personality, he's super big in that movie. - He is pretty large in that movie, too. - He's got dad's gut now. - He's playing it so big. - Yeah. - More of that isn't exactly like, well, finally, that's what I need. That there's less other character actors and more Gerard Butler. - Yeah. - But, I mean, they made it. So, I feel like there's a win for a fan base that I'm actually excited for them, more for them than I am for watching the movie. - Sure. - And I mean, for all the meat-headedness of the story, it is, when it wants to be a straight action movie, it works well. I do think the stuff it's doing instead of these, shooting out stuff. - The intro is like very-- - This intro that you apparently remember, 'cause I don't know how that movie begins. - It's a-- - I assume there's some kind of shoot-out. - Yeah, exactly. - It's one of the best sequence bits in the movie. - Well, I, well, I, 'cause the main thing I remember is the two things I remember from Danley's. One is 50% given his daughter's date a rough time - That's correct. - before Browngood by taking him into a room full of all of his criminal friends. - Correct. - Which is pretty hilarious. - And then they all laugh at him. - Yeah, that, yeah. It's a great sequence. And then the end, which is a giant heat-type shoot-out where the, on a freeway, and there's all these cars around everything. - Yeah. - Like it, that stuff assembled quite well. - So like-- - If they're gonna do-- - All these cool details. - If they're gonna do other stuff. - Well, I can't say I'm excited to re-watch dead-of-peams made it to space to dead-of-peams too, but at least I don't know what the fuck I'm talking about what I do. So like, if they're gonna make more dead-of-peams, like, okay, like the first one was assembled well enough, where at least on an action front, I'm not gonna be surprised if it's handled well. It's the same director. - Yeah. - So we'll see what happens. And honestly, I do like O'Shay Jackson Jr. I do like him on-screen. - Yeah. - Him as criminal mastermind in full-on mode this time around as opposed to like, hiding it. Spoilers for dead-of-peams. - Yeah, I was immediately, you know, that was like a really weak plot twist, but, and I didn't like that part, but, you know, they tried to be smart about it in a few other places too for original dead-of-peams. - Well, now that the cards are on the table for him, maybe that'll play better for his character this time around. - Yeah. - So we'll see what happens. - All right. - Dead-of-theves two arrives. - It arrives, it's really good for you, I got it. - (laughs) - Dead-theves two. It arrives at theaters. What is it, arrived at theaters? You know, you got it? - Yeah, yeah, January 10th. - January, so right at the top of the year. - There you go. - We're gonna come back from the holidays, brand new year, like, let's go see Dead-of-theves two. - I gotta get here quick. - Yeah. - You're gonna fly home from your families. - What a? What are two weeks? Dead-of-theves, then the Wolfman? - Oh, man. - Shit. - You want to help? Let's go! (laughs) - All right. What? (laughs) That's true, let's move on. Let's get to our main review. Four, never let go. (dramatic music) - Life's been hard on you, boy, since the world, and I remember one touch without a robot. Here's all it takes. - We're in the house while we deserve his protection. (dramatic music) ♪ Let's sit out of each word ♪ ♪ Shelter to the cure and good ♪ ♪ We'll keep you bright ♪ ♪ And never want ♪ ♪ Everyone's here within our home ♪ - Okay, that should have been some of the trailer for Never Let Go. I'm gonna read the "I Am to Be" plots and ounces since we're recording remotely. (laughs) A family that has been haunted by an evil spirit for years, their safety and their surroundings come into question when one of the children questions if the evil is real. - Sure. - Not the best way of someone that wrote that. (laughs) I don't feel like the most-- - You should have played the joke of, let me just redo the as real plot and then say it for this movie. - So yeah, there we go. All right, so this movie stars Halle Berry, as mentioned. It also features Percy Daggs, the fourth, and Anthony Bay Jenkins as her two children. There's also a dog in there, real name Brass. - I know. We've established-- - Didn't like that. You just called them Brass. - It's from director Alexandra Aja who's previously given us such films as Piranha 3D. The hills have eyes remake and high tension, a film that people like that I don't. Also Crawl, which rocks. - Yeah, that's true. And they're making a Crawl too. - Still crawling. - Okay. - Abe. - Yes. - We've just gotten out of this movie. - We have. - Never Let Go. What did you think? - You know, it's not the strongest movie. And it, I think it starts off with an interesting-ish premise, interesting enough premise, which is to say. But as it further gets along here, I think there are some problems with not just the storytelling, not because it's super convoluted, but actually because the actors are weak. And I know that they're just children, they're boys, but when you have them in here trying to, you know, go up against Halle Berry, who is an Academy Award winning actress. And then they kind of take over the rest of the movie, about halfway through. It's very difficult to kind of get that level of actorial buy-in from an audience member. As far as the movie goes, not very, I think we would have seen other elements of this played out in other movies. This is obviously a biblical tale. One in which like two brothers can't enable their mother. This is their gardener, Beaten. She is, there's an evil lurking outside, which is possibly the snake that makes its appearance in all places. There's a lot of allegorical elements here from the Bible, these stories from the Bible. And the way that it plays out is just okay. Like even though there might be some other elements of, I never wanted my children to be a part of society because society is also evil. If you extrapolate it to that level. Or if you were to go even too further, I had alcoholism where I am sick and therefore, I did bad things and everyone that had to have been to my children because I have harmed or I am harmed and I don't want this to pass on. There's a lot of things that you could pull from this, from metaphors and it's fine the way that it is, but it's not very intriguing even in the visuals that it's trying to present or the evil that you're trying to kind of maybe understand. And there's back flashes for the mother that I don't think are fully fleshed out. There's some really cool set pieces, but they don't really do anything with it. I dig the setting of the movie in this cabin in the woods literally that is very remote and isolated. But yeah, fortunately it doesn't really do anything for me and I was kind of bored with some of the later items, mostly just because I was kind of taken up by the acting. How about you? - I will say I've had a mixed response with Alexandria Aja as a filmmaker where I think some of his films are just too mean without having purpose behind said meanness. I think of like his Hill has a eyes remake. I think of high tension. In other films, I feel like he knows what kind of fun to have because I really like Crawl and I think Piranha 3D knows what it's trying to be. He didn't do three double D and that's a whole different story. - Oh, we're talking about that one. - No, he's awful. So, you know, coming into another one of his films, him combining of Barry, who I do think has had a lot of good efforts going on when as far as her like thriller mode goes, whether it's the call or kidnap, like I think she seems to know what kind of script she wants when it comes to doing these kinds of stories. So, watching this film, granted, we're just getting out of the theater. So, like I'm still in like, hot take mode, but I do think it's effective enough. I like the kids more than you did apparently 'cause I didn't find them to be a problem for me. I can say there's story contrivances or what have you that come with this sort of territory, and which usually allows me to think, well, if you're gonna base that around children, well, at least children be children, so I'm not gonna be too upset about them making stupid decisions 'cause kids make stupid decisions. - Yeah. - Obviously, yes, the allegorical aspect of it is very apparent, but what I like is how much, I honestly, I like how much it's choosing not to fill in exactly. I think by keeping things somewhat ambiguous as far as what exactly Barry's past is, how far they face really goes, like it kind of hints at answers, but doesn't give you exact ones. I think there's enough there that had me compelled as far as what the main overarching idea of this story was supposed to be. I can agree that it gets slower in certain sections in a way where I want the tension to ramp up and not go down. And so, in terms of sustaining itself for a certain period of time, it does feel like we get into too too many lulls. - Yeah, I feel that. - Which, you know, that's unfortunate. - Yeah, 'cause I know exactly the part that you're talking about, and I felt the same way. And at a certain point, my brain was like, oh, it's picking up, it's gonna pick up. - And I do feel for a movie that is rated R, I don't think it necessarily holds itself back from doing more, but I do think there are opportunities it could take if you really wanted to ramp up that tension, or if you really wanted to dig in more. And it makes me wonder if they're, because of how lightly are, I think it is, especially for Alex and Josh, a movie who knows how to go hard if he wants it. I do wonder if there's a version of this that they're trying to get PG either teen, and it just didn't go that way. 'Cause I feel like you could edit out a couple of shots and you're PG-13. - Yeah, I hear that. - I didn't like those visuals, though, that were compelling. - Yeah, and that makes me think like, well, let's do more of that, then. Like, if you like, there's some creature effect type stuff in this movie, and I thought it was rather effective. I liked the choices it was making as far as how to visualize evil. - In many manifestations, like other forms. - Yes, very cool. - Of variety of forms. And I was just more curious now of like, if they kept that going, would that make, if they had the R from the, I have no idea, so that's the thing. I'm only speculating about the rating. But I do feel like it feels like a pretty tame R to the boy where I had to check to make sure. 'Cause like, there's a little bit. - Even when you said it, I was like, are you sure? - 'Cause it, and watching it, especially when you have a film involving children. 'Cause when you get a whore-booz of kids, it can be, you're making certain choices as far as how to do things. And this one does feel kind of tame. So I was like, if it maximized some of the stuff more would that make it better, I don't know. If it made whatever other cuts necessary to get it to that beauty of 13, I don't think that makes it better necessarily either. It is what, the movie's the movie. I can't judge anything more than that. But I do, it does feel like there's opportunities that could have taken if it wanted to get harder with the content, if it wanted to delve into how evil works more. And that kind of stuff is like, yeah, okay, we can, how much do we want to terrify an audience? And that makes me wonder now, because it so clearly has this allegorical aspect to it, like, is it trying to attract a certain audience? 'Cause I feel like, I feel like kidnap, for example, there is an element of that where I could see it attracting an audience the way it's designed, the way Halli Berry, like, she prays a few times in that movie to wish that she can be able to find her son. And that's a P2-32 film. I wonder if there's a similar thing going on here as far as how she wants to get audiences to see this movie. Not just standard audiences, but what that might be more inclined to see something because it has a faith-based aspect to it. - I know what you mean. I think that there's actually a lot of, the visualizations I dig that too, I agree with you that I didn't necessarily need more like, what's out in the woods kind of thing. It would have been cool to have that, but at the same time, like, what else are you gonna show me? You know what I mean? Like, I'm kind of familiar with what you're showing me already. Like, the cold opening of this movie has some interesting elements that you're seeing. And so, you know what movie that you're in for. I think where it kind of like, slows down a little bit is actually inside the home stuff, where she's trying to really impress upon her children that this home is the only protective barrier that we have against all this evil that is lurking out in the woods. And, you know, like without it, we are lost. But I completely understand that I too, I'm glad that he kind of held back. This is like, to your R rating thing. I'm glad that he kind of held back 'cause otherwise it would actually lose its strength that it had gained in the allegorical metaphorical elements if it just became like a straight, like, core movie at the end in the third act. - Very true, and when you only have three main characters, there's only so much you can really do 'cause you can't just, you know, kill off people. - Yeah, and he's actually had, he employs a few tricks, like, you know, body double type tricks a few times in this movie already. So, there's nothing really else that could go crazy unless you were to go poltergeist-style worth it, which is like, oh, everything's going nuts now. - I mean, I mean, like, if you think that, I think of like a cabin in the woods movie of only one character is two out of three evil dead movies. - I mean, sure, sure, sure. - There are ways to manipulate a scenario where you have only one person to work with and yet it's that shouldn't say the thing. - Yeah, no, I hear you. - So, what's the movie where the teacher, Felicity, Carrie Russell is like, going out and helping this kid and the father is like sick. He has to lock up his son. Maybe it's not Carrie Russell, it's maybe somebody else. - This is like, what Carrie was like a cane bear? - Yeah, it's like the one where like, the son has to like feed the darkness and he's got to lock the door and then one night he leaves it. It's basically like a win-to-go type movie. - Oh, that is Carrie Russell. What's it called? - Antlers. - Yes, yeah, antlers. So, that's like another interesting movie where it's playing with local folklore mythology in a very remote setting, but it keeps its tension throughout and that has a child lead, you know what I mean? Co-lead, I guess. - I mean, I didn't like antlers. - I know what you mean. - I don't think I liked it. I don't think I liked it. - It has good visuals at times. - Yeah, but that third act kind of like goes kind of weird and I didn't like it. But all I have to say is that you can make movies like this where they do take children, put them into situations of peril, situations of whatever, and you can still make a pretty compelling story. I think you're more compelled by it than I am, but still, I think about this. And then from a visual standpoint, there's like this Swedish movie, I think. The one where like a whole bunch of like crazy shit happens like from manifestations of like these animals in the woods. I forget what it's called, but the guy went on to direct something else and you're like, "Hey, you should check out his other movie." And I did. And I was like, "Oh, this is kind of really fucking weird. "I'm only gonna bet you're talking." - Please do 'cause I don't like what Swedish movie. - Yeah, it's anyways. - Well, I was gonna say, I mean, I know what you're saying about the house stuff as far as how much Halle Berry is trying to hammer certain things into her children as far as how the evil, you know, to convince them that the evil is out there and whatnot. I do think that the most juices movie has is when the film puts us, the audience in the position of, is this actually happening? - Are we believing Halle Berry? - Yeah. - Now, the film makes a choice as far as she can see, and this is what, this is a question I had actually, she can see evil. Like the evil that's around them, as far as we're concerned, she can see it. - Yes. - Now, they have this whole, we haven't talked about the rules of this movie at all either, but like the, so let's back up. So the idea, they're in this house. As long as they're in the house, evil can't get to them. - And with rope. - Yeah. - I'll get to the rope. I'm just saying, it's to start off. We're at the house, as long as we're at the house, evil can't get to them. The only way they can leave the house is if they tie ropes around each other, and the ropes are tied to the foundation of the house, so then they can leave however long the rope is. - Right. - If they let go of the rope, it's never let go, then evil has a chance to go after them. - Yes, it will affect them and therefore it'll bring it back into the house. - Into the house and it'll kill everybody. - Yes, correct. Now, with that established, the kids cannot see evil. They don't see any of the stuff that happens. - Yeah, it's actually a really cool reveal when that happens. - Yeah, you're like, oh, I, yeah, early on, you get a scenario where one of the kids gets out of the rope, then the other kid gets out of the rope, then Hallie Berry cuts her own rope so you can get the kids and I'm sitting there be like, we're just getting rid of the rules right away. - I know. (laughing) - But as the kids are like getting away, Hallie Berry has them and you're seeing evil approaching and the film kind of reveals that only Hallie Berry is the one that sees evil. Now, even when she's at the house and just sitting on her porch, she can see evil on the outside of the house. Evil can't come in the house, but she can see the evil out there looking at her, taunting her or whatever. - Yeah, taking forms of people that she knows. - Now, my question is, why? - I don't know and so that's where-- - That's what kept throwing me. - I know, but like it's essentially, again, it's metaphorically, it's just temptation, right? And so that's the part where I was like, I get what you're doing, right? - Is it because she's an adult? - No, I think-- - 'Cause like, 'cause why can't the kids? That's what I'm-- - Yeah, this is like my take on it, which is, so she's an adult. She kind of shows you photos of her past life where she was like a wild child, you know what I mean? Basically, she'd probably done drugs, she's got a bunch of tattoos. And then she was like, you know, before, I had the evil in me and so now that I'm older and I had you guys in my life-- - So she's already known to him. - Exactly, so she's been seduced by temptation by whatever, the devil or whatever, you know? And so her wanting to preserve the innocence of her children is what's driving her to be like, y'all gotta like touch this wood, say all these things and you guys can't see it yet 'cause you guys have never been tempted before and I'm telling you that the world has disappeared and you guys are the only ones. So that's why it's like, oh, well, that's why we can't see, like that's why they don't trust her. But at the same time, again, this is very allegorical. Like, well, now there's like, maybe the evil does exist 'cause I actually really dug the part where, where perhaps the evil just has something to one of the brothers, like in passing and you're like, oh, maybe it is here, you know what I mean? So, yeah, that's my, the reasoning why-- - No, that makes sense. And again, we're just getting out of the theater. So it's like, I have so much time to explore ideas about like what's going on, but with that in mind, I do still go back to, yes, I do think the film is very compelling when it's pushing you to be like, wait, is this happening? Is the world really like gone to shit? Like what's actually, what actually is taking place here? Are the kids right into suspect that she's not telling a truth or at least that she's not correct in believing this, even if she's, and that we're actually fine if we go out to the world by ourselves? Like, I like all that stuff. I do think, yeah, seeing basically a montage of how bad things get, you kind of get it after a while and it's like, yeah, this sucks, I get that, let's move on. Let's move on to something else. Let's raise that tension back up. Was there another creature somewhere? - Yeah, no, I hear that 'cause again, it becomes, at least me, it becomes less of a creature thing and just more of a great, well, now these brothers are pitted against you. Again, the can and able type situation. And that is, I think what he's trying to drive at, which is this is what could happen, you know, these brothers were tight and now they're not tight and this is how things can play out 'cause if it did just go full on monster creature, I would have dug it, you know? Like, I would have been like, oh shit, she was right the whole time and you kids fucked up and you didn't listen to your mom and this is a story about kids listening to their mom just like in that one or rest of development where you should always leave a note. - Yep, peer pressure, favorite episode. - But yeah, what did you feel like, you were telling me, I liked it, it was your aja and you were talking about how it was, sometimes the movies are too mean. This one doesn't necessarily fall in a category. - It's gotta be. - Yeah, I guess so, yeah. But I'm curious, like, 'cause he does have an eye to shoot movies, you know what I mean? And I dug some scenes where even where he's like doing like the dolly thing to enlarge this tree trunk or whether it's like subtle things moving out in the background and I'm just curious, like, you're overall thoughts about his artistic touch on this movie, mine is like all of a sudden what you talked about from the show. - Yeah, as far as his efforts as a director here, I, what I like is that it's, there's restraint. - Okay. - Which is generally my issue with his movies. Like his harder core films, like high tension, like "Hills Have Eyes", "Mears". Those are movies that really go hardcore on the gore and the impact of it and so on and so forth. And it's not that I'm like, I'm sorry, I'm not squimmish about these things. It's like, you know, continue to build my anticipation for "Terafire 3", but it's more the intent behind it. And I just like watching those movies, it just felt too nihilistic for me without having anything to really back it up. So this movie, similar to the ones that I do like from him, such as "Crawl", I like that his emphasis here is, it's not on so much on the impact of whatever violence occurs or whatnot, it's just more comes of the territory. So when there is harm that affects our core characters, we don't need to revel in it. And so yes, the movie's not mean in that way. It's just dark, I guess, by comparison. And yeah, in terms of like just his style, again, it's not overly stylized, but there's enough effort from his part to be like, yeah, there's a real director working on this. So someone that has, it doesn't feel like a first film that he means. I would say it's the best directed horror film I've seen, but I mean, it has plenty of effort going into it that feels like someone that gets how to do this kind of thing. - Exactly, and I think that visual key kind of helps to propel the storyline, but also even though I wasn't as engaged with like these two young children actors, it helps compel me because there's cool shadow work where there's like cool like, you know, light and dark work. Like that stuff is very neat. And also you're able to, I guess to some degree, he's got, he doesn't do like a bunch of jump scares like on the screen, but when things happen, it's compelling, you know? And so in the hands of a lesser director, and he only has directed like what you're saying, like seven, 10 movies kind of thing. - It's a good size. - It's a good size, yeah. - But I mean like a chair. - Yeah, totally, yeah. But I mean like, you know, he's not like a prolific horror director kind of thing where it's like, oh, he's made 56 of them. He's made a lot of good movies and a lot of movies I should say, but still like in the hands of a lesser director, it would be very, it could be very static and very flat. And that would actually just, I would then be like, this is a bad movie. Like this is just, there's nothing visually interesting. There's no directorial choices. It's all very bland and it is what it is. But I can see why so many like Hollaberry wants to be like, I do want to be part of this project and I do want to put my name as an entity. - Well, that's why this one compelled me too. Cause the idea of, you know, I think this Holly Berry subgenre of thrillers she started, I think they're effective. And if she wants to go out and find directors that could like, cause this is one of her productions as well. She's a producer on the film. It, if she's going to find out like, you know, people that can direct these kind of movies with me, that's neat. That's neat that she's like, yeah, let's get alzajajan here and let's see what he can do with this script. Like it's, there's, there's enough working in his favor on that level that I can, I can appreciate for sure. - It's the ritual. - Oh, okay. - Where it's like got like, yeah. - Pretty crazy visuals by like animals in the world. - I like the creature design. I'm not hot, huge on the movie. What that director do next? - The night house. - The night house. - Okay, yeah, yeah, yeah. - Which I thought was a really cool movie. - It's really well acted from a Rebecca Hall. - Yeah, I think people, more people should see that. Cause I, when the plot twist happens, that's to make two movie previews. But when the plot twist happens, I was like, oh, this is actually pretty neat. - Oh, that's a, yeah, that does the job. - And there's actually an incredible jump scare in that movie that I was like, I don't know what's happening here, but that was really good and I'm really scared. - Yeah. I can't even remember it exactly. I just remember they're being a jump scare. - Yes. - Oh, I remember what it is. - Yeah, that's like one of the best jump scares of the year. - Yeah, there's like somebody just walking. - Yeah, yeah, yeah, I remember what it is. - And then it's like, what the fuck is happening here? - That's a good one. - Yeah, so anyway, back to this movie here. Yeah, I appreciate that there's a directorial stamp on this, but I think that you were kind of saying that he doesn't necessarily have like, you're saying that his movies don't all look the same, which is fine. - I can identify his movies by the gore in the movie. That's generally how I could identify his movies. - And this one kind of had some of that, but you know, with like some form factor shifting and changing, but all that to say is that, yes, I think that there are actually it is, this movie is actually well served by having a director that kind of has some cool visual elements to it. Even though they don't really go a lot of places or do a lot of things, it is better than a very static camera. - Barry's very good in this movie too. I should just point that out. - Holly? - Yeah. - I do think that she knows how to play this kind of role at this point, like playing through a territory or whatnot. But even then she's still being pushed to do certain kinds of things. She has to be a really tough mother. She has to have-- - And for that reason it's compelling 'cause you're just like, why is she being so tough? Is she trying to make her kids tougher or is it that she is crazy or you know, what? - Yeah, again, the film has a push and pull with how deep we're going with her sanity. I do think it makes a difference. So it's a good performance, I would say. - I don't necessarily think the kids are great, but you've had no real problem with them. - I don't have any problem with them. Like I don't think they're necessarily amazing, but I do think that they're effective enough of what they're doing. One more than the other, I would say. - Which one? - The Wolf of the Afro. I think he was the better actor over the two. - Nolan? - Yes. - Nolan, is that his name? - That's the character's name, Nolan. - Okay. - The other one's Sam. - Sam, yeah. - Yes, I think, I mean, they're both like interesting type characters as far as the kinds of roles they're supposed to play here, but I do think that, I think Nolan had the, that there's more for him to do. - There's more for him to do that I would say. - They both have, they both have a lot of things to do. - Yeah, yeah. - I like the arc that Nolan has before, I would say. - Yeah, without getting into spoilers, what did you think of the ending? - Like every part of it at the ending. - I like, I like, there's some visual choices I really liked about the ending, about things that happen. And then as far as like where we leave things I was happy with, I was, I was plea. I, even though I was like, I know exactly where this is going, I was still like, I still like this kind of in ending for this kind of movie. - Okay, you're talking about like something, the very final, the very final things that happen. - Yeah, yeah. - Actually, there's the thing with both, I actually really liked as well. I thought that was actually pretty fun. - The photo? - Yeah. - Okay, yeah. - Yeah, I thought it was, I thought it was, it lost some momentum at a certain point. And then there's like another child actor that kind of pops up and I was like, okay, it's also not a good performance. So it's gonna take me out, but I dug what was happening. - And then- - You say the ending, I mean, that's like the third act. - That's true, yeah. But the ending itself, I thought that it was compelling enough because it actually keeps the momentum of the metaphorical, allegorical things going right. - There's a certain ritual that they practice throughout the movie that comes into play at the ending. And I really liked that. - Yeah. - I like that there is a resolution to why that aspect of the film was there. - Yeah, I agree. And again, if I wanted to be very, again, allegorical, allegorical about this, basically his faith comes into play. - Sure. - His faith is tested. He goes back to it 'cause he has lost it kind of throughout the movie. And then it proves itself that it does work and love and, you know, if you put all the bad things and then think about like the outcome, then you can kind of center yourself, right? So totally fine. But as far as like the photos and stuff goes, I was like, LOL. It's like LOL, okay. (laughing) So, all right. - Anything else I'll never let go? - The score was by Rob. - Sure was. - It had some interesting things in the score, but I think you don't really hear much, but I was compelled at one point by it in the, when he's walking in the forest or something. So it was pretty interesting, so. - Yeah, it's decent score. It was the show. - Yeah. - All right, well, never let go is currently in theaters. - Yes. - Way people go and see this movie. - I honestly think that this is like a premium cable thing. So on our rating scale, how about you? - Sisley's Lions Gate. So that means we'll go to like Netflix eventually, I suppose. - Also, when did Lions get choose like a red logo? - They've had that. That's their old logo. That's their old logo. That's when Sawboos are coming out. - Yeah, I was like, is that their horror logo? - It is. - Okay. - It's their regular logo, and they have the ones that they use specifically for genre movies. - Yeah. - Yeah. - Though I like what that logo pops up. - I beat you in for something scary. - Chick Saw's here and he wants to play a game with you. - I would say this is like when it comes on one of the streaming services. - Okay. - It's like, I think the movie's enjoyable. I wouldn't necessarily say like you did like race at the theater scene, but I still think it's worth watching. And you know, a quality streaming version. - Sure. Okay. - So yeah. - We're kind of on the same page. - All right, well, never let go in theaters now. - Um. Prism, (chuckles) Prism and we have a special something next. Let's cut to that right now. - For thousands of years, we have been at war, but before we were enemies. We were like brothers. - You ready? - Always ready. Let's punch in. - Hey, watch where you're going. - What did you say? - It's not like you can transform. - Hey, Darkwing. - Oh, my finger can transform. Guess which one? - Cool. - Key, key, key, key. - Allow me. - I appreciate you having my back. No matter what. - All right. Here we are. We're taking a break from our never let go side of the review portion to go to our other thing here that we didn't, even I did not know if this was gonna happen. So this is gonna seamlessly edit into the show now. 'Cause I'm here now with the Noir Artours, Terence Johnson, who discussed Transformers 1 territory to it. - You know, I'm doing fine. It's not like we haven't, you know, just had a long conversation about something else. - Future show. - Yes. This is a show. We're beaming this from the future. - Yes. - To the past. - To the past. - But then back to the future for whatever anybody listens to this. - During my NorCal excursion, where you're also not currently living in NorCal, we're also up here. So we've made this work. - Yes, we have. - So, okay, before you get into this movie, do you care about Transformers? Is this a thing for you? - So I-- - In any capacity? - I-- - Yeah. - Have extremely fond memories of seeing the first Transformers movie-- - Okay. - In the movie theater. Like let me go, I saw it at Atlantic Station-- - Sure. - In Atlanta, with my friends from college. I remember where we were sitting in the theater. I remember seeing the Cloverfield trailer. - Oh yeah, yeah. - I remember that screening. I remember cheering for all of the, you know, Bayhem and I think that it had sort of like a really strong start. And then I saw the second one and I said, oh. (laughing) And then I saw the third one and I said, hmm. - Yeah, it's better. - And then I saw the fourth one with Joseph Braverman. And I have, it's one of the few movies I've contemplated walking out of. But I saw it in IMAX and I was like I just paid $22.50 to see this. - Yeah. - And they saved the damn dino box till the end. So he's like, oh, I gotta get, I gotta wait till this. - I was like, and that broke the interest, right? So I haven't really cared for them. I didn't watch them really growing up. I wasn't uber interested in seeing this one, but I got it invited to the screening and I was like, okay, let me, you know, go see it. I think that it's good. - Okay. Like it's a three star film to me. I think that there are some elements I think visually, like obviously Michael, I do believe the first Transformers movie should have won that visual effects Oscar over the Golden Compass. That is one of the dumbest decisions the Academy has ever made. - I've had a theory that the reason Michael Bay has done five Transformers movies. - He's trying to win it. - He's because he kept wanting to win that visual effects Oscar. - And they never did. - And they never gave it to him. - Yes. - He finally gave up. - Because the visual effects got worse as the, you know, visually the, you know, the, the phones got worse. - It didn't sound like it worse, but I feel like the weight that's in the first one is never replicated in the other ones. - Yeah. - There's real, there's, there's an effort. - There's an effort. - There's an effort to make it seem like these robots are actually on Earth in the first movie with the way they just step on the ground that is lost in the rest of the movie. - Yeah. And so in this animated film, like I, as I was watching this, I was like, oh, this is obviously the medium it should stick with. Just like visually they can do more. It's, it's, there, there are some shots. - You say that, but it's not like there's a lot of like, - We couldn't do this. - Yes. - That we've seen in the Bay movies. - But I just meant like the Cree, obviously we're on their home planet. So we're like in out of the space element to it, but just like the, I felt like the creative, it got like, the franchise got like a creative jolt. - In being animated. So like there. - If there's a problem with the movies from a visual effects standpoint, the live-action movies is that they're very fucking busy. - Yes. - They're, they're so overly animated when it comes to their transformations alone. Like you know that first movie. Optimus Prime, when he goes from like a truck to be in Optimus Prime at the first time, it's like, why is this 45 seconds? Like this is so hard for him just to be a robot. - And so yeah, in, in that way, I think this movie gets to improve upon the franchise and sort of take it in a new director. Like there are a couple of, one of my issues also with the movies regarding, I wish the directors would have trusted themselves a little bit more to hold on some of the shots. 'Cause I do think like there's, particularly when like an alien ship is landing and just the scale, I was like, oh, this is like brilliant of filmmakers understanding the medium with which they're working. And like the scale and how that, you know, this alien ship is like gigantic compared to the even the Transformers. And so it was like, that was such a cool shot, but we don't hold on for long. I was like, God, I wish you would just do that. But I think that overall the story is fine. I did have some issues with one character's arc, I think is sped up a little too quick. But I think that the voice work is very, I am intrigued by the idea of them just calling up Kevin Feige and saying, ooh, has an off day and they come down to the studio and record their part 'cause it's Avengers City, an eternal city, you know? Brian Tyree Henry, Christopher Hemsworth, Scarlett Johansson, Fishburne was in a Marvel movie. - He was, yes. - So, it's like, it's the day that it came back, okay. It's the only one who is-- - It's John Hamm, he's doing a Marvel movie. - Yeah, he's like the only one who's in that main sort of group that's, you know, not in Marvel, but, so yeah, I thought it was good. I think a lot of kids will like it. I think a lot of parents will like it. But yeah, I think my main issue, I think Hemsworth does a decent job, however, comma. - Yeah. - It just, it's just tough when what, like, he's, I can tell he's doing a performance. - Yes. - In that he's trying to obviously cut out his accent as much as possible and sort of build this character in something that will grow to sound like-- - Optimus Prime, but it's still tough because it's like, you know, for as much as I think the Prince formist franchise's raggedy, that vocal performance is incredible. - Yeah, but it also speaks to, now this is gonna be a whole stupid conversation about this, it does speak to the film's choice to be like, transformers can be young and they can age into something. And so I'm sitting here on the side like, so they're younger? I mean, they're robots, how does this work? They can age, like, what does, that doesn't make sense to me. Same way as the cars universe doesn't make sense to me. But I have to ask all these questions anyway about it. I do get the idea of if you're gonna make an animated film geared towards children about young Optimus Prime and Megatron who were once friends. - Yes. - It would be weird to be like, "Hey, it's me, Brian, Tyree Henry." And I'm Optimus Prime, I was like, "Why are these guys friends?" Like, this is such a weird, like, I get where that logic comes from. And that did leave me, I get it, but it also is the reason why I was skeptical to begin with when they're like, "Well, we're making an animated "transformers film," and it starts Chris Hemsworth, and like, that just seems desperate. To get to my thoughts on the movie, and I'll just, before I get that, I'll say this, watch Bumblebee and Rise of the Beast. I think there's a worthwhile, 'cause I think there's a lot of things going on. That would be especially Bumblebee, I don't have to make an argument for it. Bumblebee's just good. Rise of the Beast, I, you know, it's got Ramos and Fishback. I think they're having fun. I think the robot stuff is good enough without having to, you know, be over the top. Like, the big movies are, regardless, you know, it's not hard to put on the old Paramount Plus. (laughs) - Yes, 'cause I, Paramount Plus is now included in my case. - And they're also both, I think, under two hours, or at most, - It's a blessing. - At most, at most, under two hours without credits. - Yes, because we, that was another reason why the Transformers movies fell off for me. - And so, this movie, I was not excited because I think the trailer was garbage. I was watching this as like, I get that it's for a younger audience. That doesn't offend me, but even then, it's not like there's, you know, it's not like there's not good kids films. - Yes. - So watching the trailer, I was like, this just looks exactly what I expected. What I saw, Chris Hemsworth leads cast of young Transformers, where he's like, - Uh-huh. - This was like, we just needed to do something or else we lose a license or whatever the fuck. Having heard the buzz that it's better than the trailer was like, okay, cool. That's, at least I'm not dreading seeing this movie. Watching the movie, the other thing that I was also made clear out was, once you get past like the first 20-ish minutes, then it kind of kicks into gear. And that's where it fell for me. I don't think it's great, but I do think it's good. - Yeah, it's good. - I have certain issues, slightly different for yours. What is, as much as I like the visual ambition on display, 'cause there is a lot of like, hey, it's animated so we can do a lot of cool action-related stuff. - I'm not big on the designs of the characters. I do think they're, like, I don't, and it's like ILM's is like, they put the thing, got the money, they did the work, but I, it felt, I don't know, it felt a little too, I'm gonna say blocky, but like, I just, I wasn't huge on how they designed the specific version of Transformers. Do I have a giant deep connection to Transformers in general? Not really, like I played with some toys, I watched some cartoons, but I wouldn't say like, I, you know, I need them to look a certain way. It's just more, when I look at these ones, I'm like, they didn't get me too excited, while I'm looking at the specific like, art form when it came to Transformers. Regardless of that, I agree that Chris Hemsworth is fine. I, I don't think he, he falls in the category, if it's not him, it's just more of A-list stars automatically get to be like, voice actors, like, get voice actors to do voice actors. - Yes. - Like, it's the, same with Johansson. - I really felt it with her, even though I don't, I don't think she's bad, I don't think she's bad. - I don't think she's bad, she just feels more like, we're casting her because her name's Scarlett Johansson. - Yeah, and her voice is so distinct. - Like, at least Keegan's got to give a performance generally. Like, he brings a lot of energy, this stuff, so like, that's fine. Tyrion Henry, though, he's giving it. He's bringing the, he's doing the, what he needs to do. - He is. - I don't not expect that 'cause he's Brian Tyrion Henry. - Of course. - And I'm not gonna say it's the best voice proof with a small tie, but I do think, because Megatron is a more interesting character, that gives him more opportunity to play different kinds of shades of what he's going for. - I agree. I just probably say Keegan gives the best vocal performance in the film with Brian, I would put a very close second. And like, yeah, Hemsworth and Johansson, it's like, they're fine. And once you do get into the movie, you sort of forget. Obviously, his, Chris Hemsworth is going to be just present in your mind, like, we've seen Chris Hemsworth on the last stop, we know who he is, we know who he sounds like. Right, so it's like, we're not going to be in a movie sounds like, right? So it never moved into, like, characterization for me versus just voice. - 'Cause he's not a voice actor. That's what it comes to, like, again, he knows-- - Even Brian, to that point, even though I think he did a really good job, I don't think it sort of settled in that way. - I would agree because, again, he's also not a voice actor, but I do think, just by nature of what the character is, there's more for him to play with, where Chris Hemsworth is just straight arrow. Like, there's not much of an illusion there beyond, you know, now I can transform. - Yeah, and I think, I mean, I think, I just, the toughest part for me for this movie, I just think it just rushed. It just, it sort of sped up. They wanted to, they want to get to Decepticon's Autobots fighting each other. And so they were like, by the end of this movie, we need to set up that. And, you know, I almost would have wanted the movie to be, like, 10 minutes longer. - Perhaps, I-- - But in a way, like-- - I was sitting there thinking I need more of this. I felt like it hit the appropriate point. - Yeah, it hits the beats, but I'm just like, the nuances of... Brian Tyree's Henry's character moving to Megatron. I'm like, the mechanics of how we get there are all present. - Yes. - But I think some of the nuances, it just like, we flew to that point with that character. - I feel like there's an inherent snobbery in me that's why I'm not caring about this, because that's the best I can phrase it, 'cause when I look-- - So who doesn't fuck about Transformers, which are really kind of-- - It basically is, it's like, I don't have a level in me that's like, I wish it did A, B, and C, so it could be that Supreme four-and-a-half star trans-- - I don't know, I think it would be five. - Yeah. - What I'm saying is, I'm not giving it the-- - 'Cause you know, I know. - I'm not giving it the-- - You know, I'm five. - My mind isn't even computing the idea of it reaching that kind of level. - Yeah, it's not even that. It just is like, you know, you're sort of watching it, you get to this point, and like I buy the righteous anger against the villain. - Sure. - I buy how he would feel about disposing of the villain. - Uh-huh. - I buy that he's going to be opposed to his friend. I just don't buy how fast that happened. - Yeah, I mean that's-- - So in that respect, it like, I think, like I said, I think the movie is in particular with the like other gigantic threat that's within their universe. - Uh-huh. - That, like, the movie just does away with-- I think maybe that's why I feel a little bit-- because it's like, we got a big bad sitting outside. - Uh-huh. - But, like, we need to get to Autobosby Decepticons by the end of this. - You know? - I know what you're saying. And it's not even like I disagree with what you're saying. It's just boring. Like, there's only so much I can put into-- - But in Transformers, too. - Yeah, yes. - T-W-O, right. - Exclamation point, yeah. - Like, if this movie ends with them defeating the villain, and both of our characters having the sparks of these people, these robots, and in the process of fighting the big bad, we continually break up that relationship and end it, where it's like, no, it's like, in the way it just-- - I do think the risk that they're already taking is saying, these two characters who, if you-- at the bare minimum of what you know about Transformers is, Optimus Prime, Hero, Megatron, Nemesis. - Yes. - I think the risk it's already taken is saying, "But what if there were friends that'd be fed one point in time?" And you have to deal with a whole movie where that's the case until they're not anymore. I think an audience of a certain-- like, I don't even know what the intended is. Like, are we going for a young audience? Are we going for people that are nostalgic for Transformers? But the whole gist of this is, you have to already know that that's not going to last. And how far can you go before actually breaking that up? Is there a way to do that better? Of course. - That's what I think. - In a vacuum where they have unlimited time and can do everything they want to make the perfect grip. - Yeah, it's not even-- It just is like, there's something about the story we were being told that is relying on a lot of tropes and things that we already have an understanding of to shortcut us. - Sure. - But like, but also in the storytelling and the tropes, you also need the bridges too. Right? We've had a lot of stories about friends who become enemies. - Yes. - But like, you still need the full understanding of-- Like, it makes-- - You're not wrong. - Yeah. - I think so. - So that's where I think the movie-- - I think a better version of this is like dawn on the planet of the apes where you have Caesar and you have Copa, right? And I do think that movie-- I mean, that movie's over two hours. It spends a lot of time giving you all the necessities you need as to why Copa hates humans and would go against Caesar because of that fact. - Yeah. - Like, you get a lot of that. Even X-Men First Class, I think, does the work to show you why Medvedo does not, you know, he and Charles just can't be friends. Those are movies that do get the assignment even though they have to contend with that we start one way and we know we're going to get to it. - Let's analyze X-Men First Class in respect. 'Cause I think that's a good, interesting-- - Uh-huh. - Obviously, Charles and Eric, you know, they're love affair. In that, we get an instance of, like, what ultimately breaks the friendship up at the end of that movie. How they go about killing Kevin Bacon. - Yeah. Right. That's part one of it. There's the, you know, he gets shot and he tries to deflect the bullet and-- - He hates Charles. - He hates Charles. Yeah. And in this movie, it's very interesting because we do have a situation where the two characters want-- - And there's the whole Bay of Pigs thing happening. - Yes. - It's been a minute since I watched it first. - Yeah, but I'm remembering all these things as I go. - But it's like you've got internal-- you've got the internal conflict. - Yes. - You've got the regular villain and then you've got the outside force, right? - Yes. - And in this movie, the climax really starts pairing-- it pairs off the external force, which is these other aliens who want their resources. - Yeah. - And we get into-- it's really-- we're going to focus on the one big bad, right? And both of them have sort of different approaches. Like, don't kill him. Do X. I want to kill him because I'm so pissed off about how shady and awful he did us. - Mm-hmm. - Right? But in the mechanics of the movie, you've understood that, like, they can get their sparks. - Mm-hmm. - Right? And so in this moment, it's like you obviously-- I get the carrot home, whatever the fuck is-- the robot's name is before is Megatron, for the lack of a better way. - I can't do these other names that they have. - I couldn't tell you. - It is like a letter and a number or something, too. - It's not V16. - No, that's a thing. - Scandal. But, like, he does the action to kill the guy. Great. Ooh. I love the seriousness of that. It's when Optimus gets shot, and then he's like, "Oh, I'm just going to drop you down the well, too." Like, that-- I was like, "Okay, we are-- we're now--" That's what I meant, but, like, we've moved so quickly into the villain arc that we're missing some of the nuances, right? Like, them getting the helmet off of Kevin Bacon's character, Charles Xavier. Charles Xavier freezing him. - Mm-hmm. - And Eric literally pushing this coin through this dude's head while Charles has, like, mentally linked with him holding-- like, the visceralness of that and that decision is, like, so much-- there's just some-- there's just texture to it. And I felt like here, at the end of this movie, they were kind of just like, "Okay, well, you know why you're here. Let's just get to it." - And I think it's missing a little bit of that texture. - Well, I would agree. To speak to that, it's not that it's impossible for animated films to create a sort of an emotional reckoning for characters. That's all with Pixar. But I do feel, like, compared to an X-Men movie, that's rated PG-13. - Uh-huh. - There's limits you can push in that realm that you can't-- that I-- I don't expect-- - No, I agree. I agree with what you're saying. - Not only that I don't expect from a Transformers movie, but that I don't feel, at the end of the day, the prime audience is going to, like, really want to be in on in that same way. - I agree. - Because I do credit this movie for doing, I think, more with the plot for a Transformers movie than most Transformers movies. - Yes. - Beyond just, like, whatever subtext you want to think that's going on in the Bay movies, there's legit attempts to do something with the ideas of friendship and making it into the Shakespearean drama. - I mean, the first movie is a boy in his car. - Yes. It's the first movie's 18 with Michael Bay. And you can read into the second and third movie in regards to war and Iraq and other ideas that are present in the background of those and consumerism and the fourth one for some reason than whatever the fuck the fifth movie's about. - Yeah. - But there's-- but the-- and even, like, the animated movie from '86, which is great, and that's a great soundtrack, that has some deep thing going on because it literally kills off several main characters that you don't-- if you don't know this story-- if you don't know this movie, you're like, "Oh, wow, it's really-- it's really trying." - Yeah. - But thematically, it's not really doing much. It's just saying, like, we're going to start off on a high of darkness and then go for there. This movie's like, "No, we're going to try to take some twists and turns with things that you don't generally see on an emotional level. Could it do it better?" - Yeah. - Sure. The animated movie's similar done something and then made it better because they're just better at doing this thing. Sure. This movie's directed by Josh Cooley. He made "Toy Story 4." He's worked in Pixar. - Yeah. - He's a Pixar guy. He's that, like, I'm not going to say this feels like a run off of Pixar, but it does feel like there's a director that has more of an idea of what they want to do with this. - Yeah. - Compared to other kind of, you know, IP-based properties turned into animated movies because why not? - It feels like someone tried to do something here. - Yeah. And in that, like, I do agree with you. I just, I think for me, whether I'm the prime audience or not, I saw the movie, so I think- - Oh, it's fair. Like, I'm sitting here, like, is that like a migraine's many, much higher? - Yeah. - Because I do think it's good. I just think I was like, yeah, I was like, we got to the end. I was like, "Damn, we sped through, like, what would be, you know, I think, like, what would be, you know, a half hour of screen time in about ten, fifteen minutes." - Which is a fair statement to make. - You know, just in terms of story pieces. Like, you know, they wanted to get to Auduboth versus Decepticons, and they were like, "Let's do that in the sort of most trim way possible, but, you know, you can eat lean meat, but, like, the fat is what gives you the flavor." - Right, so it's, it's, it's, it's sort of that. - Here's my, here's my question now to you. You've seen this movie, you like this movie. Would you entertain more, like, sequels to this specific iteration of Transformers? - Uh, sure. - I asked this 'cause I just legit don't know where it would go beyond just being like, and now they're at the age. - They're gonna do the war on the planet, right? - I guess, yeah. - You know, and then maybe in the next movie, the war will have to stop a little bit, because, like I said, giant alien. - Yep. - Their greatest enemy of all time is chilling on the surface of the planet. Like, at some point we gotta fight that. So that, that's what I mean by like, in the, in the movie, like that, that, the specter of that sort of being brushed away, yeah, I just, yeah. So when we dropping, shooting Optimus Prime and then being like, damn, well, in the dropping, I was like, damn, that's, that's, like, even for a character that's that far gone, like, that felt like, that's what I mean by like, sped through it. It's like, we, we needed more moments of, you know, we needed more moments. - Well, as far as earning emotional catharsis with regards to robotic characters, I know the wild robot comes out next week and I haven't seen it yet, but I'm sure that's going to deliver on that in some capacity. - I haven't seen it. - That's the only thing people keep talking about with that film. So, I look forward to seeing that. Well, but I did enjoy this movie. You enjoyed this movie as well, Transformers. Once currently playing in theaters, when do people go and see Transformers 1? - If you've got kids, go to the theater. This is not, you're not gonna be like, oh God, why am I at this children's movie? It might start feeling that way at first, but. - Yeah, and then for everybody else, you know, whatever you feel like. None of this beer moves you. - Yeah, I think there's a solid matinee, dollar theater kind of movie. I think the, as much as I'm not huge on the design of it all, I do think it, you know, it looks the part as far as giving you, you know, Transformers action in a big screen capacity, it has that going forward. It sounds great. It looks nice music and what have you. Voice acting is negligible. But I do think it does mostly, it does the job that's required. So yeah, no, I think what could have been an disaster that is Transformers 1? Turned out to be, it does the job. - It does. It does do the job. - Great. Well, thank you, Terrence. We're gonna be able to find more of you online. - You can find me at linowaltour.net and on Terrence. On Terrence, my God. On Twitter. Terrence B. Johnson. - All right. And now back to, even though I talk about other things. - Okay. All right. Now. - Thank you for that. - Yeah. - It's gonna be that happened. Thanks for that. Now. - Okay. - Should I say the name? - What? - No. (laughter) - We'll just assume it all went to plan. And it's perfectly. - Thank you. - Denver Broncos. (laughter) - So, there's only two of us here. - But that doesn't mean I don't have time for this. So, what time is it right now? - I think I have a different game here. - It is time for games. (humming) - What an on fact. Did you know that's actually the sound that plays when the rope comes off your chest? - Exactly. Is that what happens? Hey, if I have a game for you. - Yes. - It's called who did I see? (laughter) - Why did you shout it? - I want to make sure you're listening. - Okay. - So, I was at a screening the other week. - Okay. - And I saw somebody notable. I want you to guess who I saw. (laughter) - Okay. - So, I want you to play 20 questions with me. - Wow. - Just give me, you can just ask me yes or no questions. - Yeah. - And try to narrow it down. - I mean, okay. Got it. Is this person in the movie that you saw? - No. - Is this person like an A-list person? - Yes. - Is this person tall? Like over six feet tall? - No. - Is this person male? - Yes. - How many questions is that? - I don't care. - It's at least like five. - Dude, we're not deployed to 20. Just do it until you get it. - Does this person have dark hair? - Yes. - Is this person official hair? - Yes. - If I guess, do I lose or I just have a little bit of yeses? - I would say you want to narrow it down a lot before you start guessing. - Is this person also a musician? - No. - Okay. - Is this person been in a movie that I have seen this year? - This year? - Yes. - I'm going to say no. - Oh, wow. - Okay. Is this person older than 45? - Yes. - Is somebody that's not very tall over 45 dark hair with facial hair? - You might want to clarify facial hair. - Does this person have a beard? - No. - Is this person having a mustache? - No. - This person just says a five o'clock shadow? - More or less. - Okay, because when I'm talking about facial hair, I was like full on beard. - They're not defined by the fact that they have facial hair. - Yeah, but I'm thinking about people that would have facial hair right now. Okay, so, but they were, was this person clean shaving, I should say? - Not at this stage. - Got it. - And not a musician, so that's not Jack Black. - Jack Black has a full fucking beard. - I know what I'm saying. - I wouldn't ask you to clarify. This is like, they say yes. - I'm kind of like giving you some answers in my head right now. I first was like, maybe it's like Jason Schwartzman, which is why I asked if he was a musician. Okay, is this person part of the famous family? - No. - Okay. - Is this person married to somebody famous as well? - No. - Interesting. - Is this person, has this person directed anything? - No. - Okay, so just a straight actor. Has person been in more than 20 films? - Yes. - Whoa. Okay, so somebody who's older than 45 that has facial hair, no, I'm sorry. That is not clean shaving. Dark hair over 20 movies? How did you know? The thing, how did you get to Al Pacino? - Is old dark hair under six feet tall? - Like that? - Yes, that's actually the answer. - Is it Al Pacino? - Yes, it is. (laughter) This is your, as your guess, this is what you've seen Al Pacino recently, right? (laughter) - Oh my God. Hold on. Keep going. The fact that you got there from that is impressive to me. They're gonna narrowly get down a lot more before you start guessing a name. That's such a specific guess, but it's correct. - Holy shit. Where did you see him? - So I was at a screening room, outside the screening room. Now the screening was at, it's like also a medical center. It's like an office building. There's a medical center mainly, but there's also like a room for screenings in it. I was just sitting outside of it. I was by myself and somebody, I was like on my phone. Somebody walks through the door, all black, dressed all black. - Like this? (laughter) - Basically, dressed all black. - This is what I'm talking about. I was like, "Oh, fucking weird, scraggly hair and shit." - That's why I said clarify your facial hair. - Okay. - Someone kind of, she kind of walks in, dressed all in black. He's got his earbuds in. - Okay. - He kind of looks around the corner, then he kind of walks back out. As this is happening, I sort of start picking up and I look over. He's kind of bent over, short. And I'm like, "Yeah, Al Pacino is like 5 foot, he's probably 5'4 now." - And as I realized it, as this is happening, I'm like, "Oh, that's Al Pacino." - Wow. - And then he left, he got back into like the car, his driver was in, and he went around the corner. I don't know if he went to like go park. - You didn't say hey. - I don't know if he went to go park and like come back in later on. He wasn't at the screening, I was like, "So he just, either of you, maybe just check it out to see where he needed to go later on." - Yeah. - I don't know what happened. But all I know is, "Oh, that was Al Pacino." And I was in Beverly Hills, I'm like, "Well, that makes sense." Like, that's the theory that he would be. - Yeah, he's like, "Al Pacino the other day." - Wow. - That's pretty cool. - Yeah, that's exciting. - Yeah. - He's like one of the most famous actors ever. - Yeah, it's not like, it's not a, I don't know. - Is that Jack Black? Is that Jason Schwartzman? - Yeah. - It's not some like, great, you know. - I guess, yeah, he's that part of the famous family. - Yeah, right. - It's not like Ty Burrell eating a burrito somewhere. Like, it's the first one to Al Pacino. - Ty Burrell would not mind if you said hello to him. - I've seen Ty Burrell before. - If he's eating a burrito. - He drives a small Volkswagen. - Oh, for such a tall man. - Yeah, it is kind of like, I wonder if he's doing that on purpose. - Yeah. - He's pulling a Nelson Munst thing. Like, this is the only car that I can afford. Is this funny to you? - Yeah. - Well, good job. Way to guess that. - Thank you for that game. - For sure. - We should employ the 20 questions thing. - That is fun. - As a game. - We could see more people. - We could just employ it with like an IMDb thing too. We'll figure it out. - That's one way to go. It's more fun. I've seen somebody though. - It's true. - Since readily run across the body is Berkeley. - The only person that I've seen are Berkeley. I've only seen two famous people in famous, you know, quote unquote, meaning like. - You know, in her Domino's or something. - Yeah. John Domino. - John Domino. - John Bond Domino. - John Bond Domino. - He's from the other part of New Jersey. - No. Delroy Lindo. - Oh, okay. That's not bad at all. That's great. - He was eating at a restaurant and I was like, "Isn't that fucking Delroy?" And again, Berkeley is pretty chill. And so nobody was really bothering him. Probably not. A lot of people knew who he was. This is obviously like pre the- - The Five Bloods. - The Five Bloods. - The Five Bloods. There's like at least like 10 years ago at this point. And then the only other person was Eric Roberts. - I'm Eric. - I better. - I better. I was working at a movie theater in college and I had the morning shift. - Uh-huh. - He literally came in with his wife at like eight in the morning. It's all the first showing of like a movie. - Mrs. Roberts? - Yeah. They were the only ones in the theater. And I said to him as he was leaving, I was like, "I love best of the best." - I love best of the best. - And he just like- - I'm sure he did. - He could be very positive. - You know how he says all right? Because he's got like the mouth and he's like, "All right." - Yes. - Yeah. - There you go. - Very good. - Yeah. - Good. - That was great. - All right. Well, let's do a little bit out of feedback. - Go back. - We didn't have too many questions here because I was going to be up here. So I did ask just give us questions. - Yeah. - That was the thing I asked. - We got one. - We got one question here. It's from Chris Cleveland. He writes, "Oh boy. It's important question. Who's looking after Mrs. Spider or is he going on a road trip as well?" - That's a great question. - Yeah. For one thing, it's a mister. It is a he. I don't think he can- - I mean, it's not even a mister. It's a doctor, isn't it? - Well, I'll get there in a second. Just to clarify. I don't think they even sell female tarantulas because they don't want to like laying a ton of eggs and stuff like that. Like they like the- - So, yeah. - You've now scared me, but keep going. - They don't want them crawling into Abe's pillow when he's sleeping. Like a bunch of eggs in his mouth and his nostrils and his ears. - I'm gonna do this. - You know what? Like a little hatch and you're like, "Oh my God, they're all over the place." Like, "Where'd they come from? They came from inside me." - Yeah, I'm gonna go throw up. - So, no, Professor Dent is currently at home. - Yeah. - I got him some crickets before I left. - You know, I've got crickets for a strange little bit where they left, but it's from home alone. - Damn straight. - Yeah. So, yeah. - Actually, he gave him a whole bunch of mice, kids. - Professor Dent largely takes care of himself, so he'll be fine for the- - Yeah, yeah. He's an adult. He lives in his own apartment. - He does, yes. He has a job. - Exactly. He's obviously a professor. - Yeah. - All right. Good question. - So, that's a good question. Thank you for that question, Chris. Yeah, that's not a feedback. - Feedback. - Feedback. - And yeah, I think that's gonna do it for this fun episode about now there at an Abe. - In person. - Yes. - Yeah. - You can find everything I do at my personal soapstagpays.co.z.ec.substack.com. I am the editor-in-chief at Weave Entertainment. So, you can find my movie reviews over there. I write blue-rayed, cartoon reviews over at Ysubly.com, and I'm on all the socials and errandsps4. - Abe. - You can find my friends over at my instagram, Abe.moolah, and Twitter.com/walrusnews hashtag. - Don't make go in a rope. - You can put all the other episodes out now with our name on iTunes. I don't even spot a fight in Stitcher. - Soundclap automatic, and it's just a bit of a deal to do. - Feel free to email us at nutpockets@gmail.com. - Check in our Facebook, Facebook, Facebook, Instagram, etc. Twitter, Twitter, Twitter, channel, Instagram.com. - And Instagram.com, Instagram.com as well. Thanks to any special guests that they have joined us this week. - Thank you to those special guests. Or, at any point, thank you. - Let's see. What's happening next week? It's the 20s. Oh, of course. There's two things. There's one. His Francis IV copel is Megalopolis. - Uh-huh. I've heard nothing but mixed reviews for that. - And there's also the wild robot. - Yes! - Opens as well. I also should say that I am on vacation for the next two weeks. So Aaron is running the ship solo. And if you want to know more about my thoughts about speak no evil in full or detail, drop us a comment. And I'm happy to be recorded with Aaron. - Just be a large glob of words. You read the response. But yeah. We'll have a fun week. Have a fun and safe vacation. - Thank you. - I do. I do desperately want to hear what you think about Megalopolis when you ever get to see it. But yeah, that's good to do it for this special episode. So until next time. So long. - And goodbye. [MUSIC PLAYING] [MUSIC PLAYING]