Forgotten Italian Sci-Fi: The 10th Victim

[00:00:00] The battle for the mind of North America will be fought in the video arena.

[00:00:09] The television screen is the retina of the mind's eye.

[00:00:13] Therefore, the television screen is part of the physical structure of the brain.

[00:00:19] Alright, welcome back to another episode of The Outer Reels. This will be episode 30 and the 1st of 2025.

[00:00:35] Hopefully you all had a good Christmas, New Year's, all that stuff. With me as always is Sam.

[00:00:41] Yeah man, here I am. Happy New Year and here's to the next four months of writing dates as 2024 still.

[00:00:49] Exactly. Not that you're, you know, you're the only person who still writes checks.

[00:00:54] Hey, it's analog baby. That's how the world should be.

[00:00:57] No, I've gone as paperless as I can at this point.

[00:01:01] Alright, we should start talking about our movie, The 10th Victim. What'd you think of this one Sam?

[00:01:06] Well, I'm looking forward to you to talking about it because I, I really wanted to like this movie.

[00:01:13] I think the first half was great.

[00:01:15] I was very interested. It sucked me in.

[00:01:19] Mm-hmm.

[00:01:20] And yeah, I think that's what it is. I mean, you'll be able to tell me the third act is where it fell off of what it is and what it was.

[00:01:28] But I was interested and it looked incredible.

[00:01:31] I could tell you what the idea of it is, but I couldn't tell you what the resolution of it is.

[00:01:38] That's, that's probably about right. I mean, I got to admit, I first came across this movie much earlier in the year.

[00:01:45] I had no idea it was Italian, had no idea it was a sci-fi movie.

[00:01:49] I just saw the poster and thought that looks like a really cool noir movie, movie that I've never heard of called The 10th Victim.

[00:01:55] I need to check it out.

[00:01:57] Um, and then for probably forgot about it.

[00:02:01] And we got ourselves to Italy and I'm like, I got to find movies, did a Google search of, of Italian, you know, sci-fi movies.

[00:02:09] And this came up and I'm like, wait a minute, what? Cause that poster, that looks like something like this.

[00:02:15] This looks like it could be like double indemnity or, you know, something like that.

[00:02:21] There's this woman lying on a bed and there's this guy who looks like sorrowful and stuff.

[00:02:27] And I'm just like, this is not the same movie I saw that would go on to inspire things like battle Royale and the hunger games.

[00:02:35] Yeah.

[00:02:37] And, and evidently Austin Powers.

[00:02:39] Right.

[00:02:40] I know there's some really interesting components to this movie.

[00:02:43] I think I would refer to it more as instead of like, I know you mentioned noir, but I think I'd call this like Euro new wave is where it was totally no.

[00:02:53] This is what I mean.

[00:02:53] My, my entire thinking of it, that it was like this, you know, 60s noir movie is based solely on the poster.

[00:03:00] Sure.

[00:03:00] And knowing nothing else about the movie or I didn't even read the names.

[00:03:05] I just saw this image.

[00:03:06] I thought this looks, this looks a steamy and cool.

[00:03:08] For 1965.

[00:03:10] This poster looks about 20 years too late.

[00:03:14] I'll give you that.

[00:03:15] I agree.

[00:03:16] Yeah.

[00:03:17] Yeah.

[00:03:18] What can I say about it?

[00:03:19] Let's, I mean, 1965 directed by Elio Petri.

[00:03:24] And he was a writer director career that span 53 to 79.

[00:03:31] So he had a long run.

[00:03:32] But if you look at his back catalog, they're all very much this kind of movie.

[00:03:37] And this is a little more sci-fi as I said, but most of the time it's crime drama romance.

[00:03:43] That is his bread and butter.

[00:03:44] And is it because this is very much a satire and is he doing a lot of that stuff then?

[00:03:49] Cause I know they see intentionally a comedy as well.

[00:03:51] No.

[00:03:52] Yeah.

[00:03:52] A lot of these seem to be serious and he's more serious ones track a lot better in reviews

[00:03:56] and people seem there's a couple of, I was like, I might check that out.

[00:03:59] But for the most part, this seems a little bit more, uh, out of his wheelhouse compared

[00:04:04] to the stuff, either side of it, how I would shop this movie or how I, how, what's, what's

[00:04:11] your elevator pitch to get somebody interested in this story?

[00:04:14] Oh my God.

[00:04:15] This is, this is, this is a tough one.

[00:04:17] Cause this, this, the whole premise of this thing's really wild.

[00:04:20] Um, like, so let's see, I guess it would be future society in a bid to phase out war have

[00:04:30] developed a game essentially to be played around the world where there are hunters and then

[00:04:35] what they call victims and the hunters hunt the victims.

[00:04:38] But if the victim can survive and or defeat the hunter, kill the hunter, um, that victim then be goes to the next round and becomes the hunter.

[00:04:49] And if you can get to 10 where you've played the game 10 times, you win a million dollar prize, which I don't know why they thought that would be a lot of money.

[00:04:58] A hundred years in the future, which is, I think where it's supposed to take place, but I guess it is.

[00:05:02] This takes place in 2079 just after world war three.

[00:05:06] Yeah.

[00:05:07] Which I only got by reading about that.

[00:05:09] So I didn't, I didn't catch that from the movie at all.

[00:05:12] I agree too, because I didn't hear anybody mention at all in the movie of what exact year it was and how far it was away.

[00:05:20] They do reference world war two and stuff, but yeah, it's in the future, but.

[00:05:24] They say that, um, had the game been around in the 1930s, Hitler would have obviously done it and world war two never would have happened.

[00:05:34] Yeah.

[00:05:35] That was a really interesting take.

[00:05:36] I thought is that they're trying to normalize this idea of this game of the hunt.

[00:05:41] That's, you know, it's explored a lot more in, you know, like movie, the purge, you know, whether that idea that they mentioned in this movie as a very sort of side thing of like why it existed and how it came about.

[00:05:55] Almost the purges a whole movie about why that exists and how it's come about.

[00:06:00] So I thought it's interesting, but I think I would probably just say it is a yearly televised hunt and for people who join and the better you do, the more following you get.

[00:06:12] And corporate sponsors are all about, it's just like you're a race car team or something like that.

[00:06:18] They want to be associated with the leaders or the winners of the hunt.

[00:06:22] And the better you do throughout the hunt, the more people want to try and bring you along and associate you with some kind of product and supported, you know, everybody's supporting by big companies.

[00:06:33] And it's a, it has a bit of a death race 2000 vibe in that setrical, you know, televised sort of everybody's all in and in a lesser way, not saying it's a lesser movie because it's a great movie.

[00:06:45] The running man where it's more of this sort of, you know, TV show trope.

[00:06:51] Yeah.

[00:06:51] We should say though, this predates all of those.

[00:06:53] Yes.

[00:06:53] It is 65.

[00:06:54] Everything else we're talking about is seventies and eighties.

[00:06:57] So it definitely takes some inspiration.

[00:07:00] I think the thing I liked most about this world is, you know, nobody bats an eye at people like shooting at each other.

[00:07:08] Right.

[00:07:09] Right.

[00:07:09] And I think it's because there's, there's a harsh, harsh, well, it's a fairly harsh penalty, I guess.

[00:07:14] And I guess in the sense of this world, that if you kill someone who is not a victim, if you're, if you're, you know, if you're a hunter and you kill someone who's not a victim, you're, it's an automatic 30 year jail sentence.

[00:07:25] Boom.

[00:07:25] Right off the bat.

[00:07:26] So I guess the idea is everyone's supposed to be very careful about how they shoot.

[00:07:30] Although that's not how it's presented in this movie.

[00:07:32] Everyone's just shooting left and right.

[00:07:34] It is going to be wild.

[00:07:34] Exactly.

[00:07:35] But everybody else around them is just like, almost like oblivious to it.

[00:07:41] They pay no attention to it, which I thought was kind of interesting.

[00:07:44] Like a hunter at one point pulls, or was he a victim at that point, pulls a gun on this maitre d and he just said, no, thank you.

[00:07:51] I'm not in the game.

[00:07:53] And that was it.

[00:07:54] That was the extent of his reaction, having a gun pulled on him.

[00:07:56] I want to ask you more about that because it was hard for me to follow.

[00:08:00] So, you know, the rule is you entered this competition and you have to survive 10 points essentially.

[00:08:07] And five of those points you play as a hunter.

[00:08:10] Yep.

[00:08:10] And five of those points you play as a victim.

[00:08:13] Mm-hmm.

[00:08:13] And as a hunter, you, maybe you can explain more because I didn't really pick up on how it worked.

[00:08:21] Like if you're a hunter, you get given people that you have to take out or can it just be anybody who's a victim or.

[00:08:28] No, you get assigned one.

[00:08:30] That's, that's how each one, each hunter and each victim have, have someone assigned to them.

[00:08:36] So it, you know, you're basically matched up.

[00:08:40] And because of that, but the hunter, but the victims don't get to know who the hunter is.

[00:08:45] The hunter at some point has to, you know, present themselves, I guess.

[00:08:50] Although I guess they can do it slyly like the, um, like our hero Marcello.

[00:08:55] Um, for lack of a better word, cause there's no real heroes in this movie.

[00:09:00] Yeah.

[00:09:00] Our main guy.

[00:09:01] Yeah.

[00:09:01] Yeah.

[00:09:02] Our main guy.

[00:09:02] And then we have our main woman, Ursula Andress.

[00:09:04] So at the beginning, Marcello is, um, is hunting a victim and we, we see the victim's point of view.

[00:09:13] And for whatever reason, he is at like, uh, a horse jumping show.

[00:09:17] And I guess he's supposed to be competing in this horse jumping show, even though he's a victim.

[00:09:21] He's dressed like a Nazi SS officer.

[00:09:23] He's, his name is Baron something or other, which I, I, all of these are weird, crazy choices.

[00:09:28] He's like a fancy version of it.

[00:09:30] He's like in a shark skin suit too.

[00:09:32] Like it's like a very high caliber.

[00:09:33] Or yeah.

[00:09:34] Yeah.

[00:09:35] So, but, uh, you know, the guy who brings him his boots, you know, he holds a gun to

[00:09:40] his head and stuff.

[00:09:41] And the guy just ties him in.

[00:09:43] And, uh, I just kind of walks away and the guy, you know, he's got this piece.

[00:09:48] This guy puts a gun to the head of everybody.

[00:09:50] I think he's the one who actually puts a gun to the head of the guy at the show.

[00:09:53] And the guy says, no, thank you.

[00:09:54] I'm not in the game.

[00:09:54] Um, and just, he's able to move the gun away, but he's just, because he's a victim, he's

[00:09:59] paranoid because he's going to get killed at some point.

[00:10:02] He's going to be, he's being hunted.

[00:10:03] So, but yeah, anyway, he walks up to the mirror to check himself after he gets his boots put

[00:10:08] on by this manservant guy.

[00:10:09] And he clicks his heels together and they explode.

[00:10:13] And it turns out the manservant is Marcello, our hero who, um, you know, gets to move on

[00:10:19] to being a hunter again.

[00:10:20] Who like rigged his shoes and it's very much a, uh, Wizard of Oz heel click.

[00:10:24] But I guess that's the idea is you're trying to craft, be crafty and insert yourself into

[00:10:31] a situation where nobody would ever suspect you're the hunter.

[00:10:35] Yeah.

[00:10:36] Although the movie starts off like with a literal bang with a couple of gunshots over

[00:10:40] black and then you have someone chasing a woman.

[00:10:44] This is a hard opening for sure.

[00:10:45] Yeah.

[00:10:46] Yeah.

[00:10:46] It's like, and they're just in some rubble and stuff and they're shooting and it's,

[00:10:50] it's New York city.

[00:10:51] He's chasing her, but she doesn't look that scared.

[00:10:54] She's almost goading him.

[00:10:56] Like, she's like, you who, and stuff.

[00:10:58] And he's chasing her all over the city and stuff.

[00:11:00] And then he runs out of bullets at a certain point and she charges off again.

[00:11:05] And I thought, well, is that it?

[00:11:07] He's only allowed so many bullets or whatever.

[00:11:09] Nope.

[00:11:09] He reloads and off he goes again, continues to chase her.

[00:11:12] But this is when we get into a club.

[00:11:14] Um, he follows her into this club and this is where, uh, we run into our, our, our other

[00:11:20] hero, which is the lovely Ursula Andress coming like hot on the heels of Dr. No, this is like

[00:11:26] what?

[00:11:27] Two years later.

[00:11:27] We're, we're in another movie here where we have a post bond girl.

[00:11:31] Yeah.

[00:11:32] And, but I mean like, yeah, very, you know, this, I think, but, uh, Dr. No, 62 or 63.

[00:11:39] 62.

[00:11:40] You're right.

[00:11:41] 62.

[00:11:41] There you go.

[00:11:42] So this is still prime Ursula Andress.

[00:11:45] Uh, the irony of it is she's playing an American and, uh, I don't think she's ever speaking

[00:11:50] English in this movie, but, um, cause her, cause her dubbing is not great, but, uh, yeah.

[00:11:57] So she's now on a stage in this club and like, it's like an art gallery and people are

[00:12:04] just sort of watching and she comes out and she's got this outfit on and she goes to somebody

[00:12:09] and he pulls part of it off.

[00:12:10] And the guy who was chasing the girl, the gunman, the hunter sort of sits down, decides

[00:12:15] to watch this show.

[00:12:16] Cause there's this, you know, hot woman who's taking her clothes off in this gallery.

[00:12:20] And she basically walks up to him and she leans in and she whispers, take my mask off.

[00:12:26] So he takes her mask off and he sees her face and then she leans back and basically, uh, her

[00:12:32] brassiere each side shoot a bullet and kill the guy.

[00:12:35] That's like exactly what Austin powers ripped off.

[00:12:39] And, uh, it's quite funny.

[00:12:40] I was, I was so confused about the scene and her bikini looks like it's made up of like

[00:12:46] broken mirror shards and crystals.

[00:12:48] It's like a disco ball.

[00:12:49] Yeah, completely.

[00:12:50] And it's, uh, the, the sets and everything, which we're going to get to is, yeah, it's,

[00:12:58] it's all, it's a, it's a, I wouldn't say it's a visual assault because everything just

[00:13:02] looks great, but it's a visual journey, this movie for sure.

[00:13:05] And the saturation and everything like I, the costumes that's, it's funny how it seems

[00:13:13] to live simultaneously in this future world.

[00:13:16] They've created while at the same time, very much 1964.

[00:13:19] Yeah.

[00:13:20] 65.

[00:13:21] It's just, well, also like when I think about these years, you know, I mean, we're talking

[00:13:25] about Dr.

[00:13:26] No, 62.

[00:13:27] I think also this is the beginning of mainstream films being colorized.

[00:13:34] Like, I mean, there was colorization, but shot in color and, you know, probably the fifties.

[00:13:39] I mean, it's been around since the turn of the century, but it was really becoming the norm

[00:13:44] through the fifties and sixties.

[00:13:46] And so I think there was also, if you were a director or a filmmaker who was involved in

[00:13:52] the black and white times, when you got a chance to shoot color, you wanted to just go ham on it

[00:14:00] because now you can have the saturation and you can have the vibrance and you can see it,

[00:14:04] you know, get much bigger dynamics.

[00:14:06] So you finally get a chance to sort of show color on film and do it in any way that you

[00:14:11] want way over the top, you know?

[00:14:14] Yeah.

[00:14:14] For anyone who's younger listening, you've got to understand is like, um, color film.

[00:14:19] I mean, the wizard of Oz is what?

[00:14:22] 39 or something.

[00:14:24] And the wizard of Oz was kind of clever because it starts entirely in black and white,

[00:14:28] switches to color when she goes to Oz and then switches back to black and white.

[00:14:32] It's more of a sepia.

[00:14:34] Um, when she goes back to Kansas, um, but all through the forties and well into the,

[00:14:40] and well into the fifties, most directors, like most well-established directors were not

[00:14:46] shooting in color.

[00:14:47] They did not want to shoot color.

[00:14:48] They didn't like it.

[00:14:49] Um, and it really, really was not until the sixties before everything was color.

[00:14:55] Yeah.

[00:14:56] Well, it's also, uh, cause I'm a huge monsters fan.

[00:15:00] I would like to mention that when you see the monsters, cause it was purposely shot in

[00:15:05] black and white to give it more of a vintage feel.

[00:15:08] But when you see the sets and the makeup that everybody wore in the monsters, it looks like

[00:15:16] somebody threw buckets of purple and yellow paint around like the vibrance is over the

[00:15:21] moon.

[00:15:21] And it's almost by design to keep gradients and more detail in the black and white, because

[00:15:29] right now the film stock in the emulsion was getting much better.

[00:15:32] So to make an interesting looking black and white movie, if you had a really saturated set and

[00:15:38] you shot it, you have much better than these really monotone stuff.

[00:15:42] It would, which is kind of interesting for us.

[00:15:44] It's like almost the opposite of what we're talking about, but to get the same result.

[00:15:48] Mm-hmm.

[00:15:50] But, uh, but anyway, this is very much in color.

[00:15:52] They, um, they very much have fun with it.

[00:15:55] It's a palette.

[00:15:56] I have to say for what is supposed to be post world war three, um, I can only assume

[00:16:02] they, they thought of, you know, they just looked at the destruction of world war two and

[00:16:06] thought this is what we'll have for world war three.

[00:16:08] It didn't think anything about atomic weapons.

[00:16:11] And, uh, cause cities are fine.

[00:16:13] There's no, there, everything's, you know, New York, everything's in great shape.

[00:16:17] New York is still standing other than the four blocks of the Bronx under the Brooklyn

[00:16:21] bridge that we visited many times in this season.

[00:16:25] I'm sure Ursula covered the same footsteps as trash in some of these scenes.

[00:16:30] It's kind of interesting.

[00:16:31] It certainly does look like it.

[00:16:33] So this being a movie about humans hunting humans, what is, which is a genre at this

[00:16:41] point.

[00:16:42] And, you know, it wasn't, it wasn't a genre when this was made.

[00:16:45] No, definitely.

[00:16:46] Definitely a genre now.

[00:16:47] So what is your, what is your standout human hunting humans movie?

[00:16:52] I think I know what you're going to say, but it's, it's battle Royale from 2000.

[00:16:57] Yeah.

[00:16:57] Yeah.

[00:16:57] So to understand why battle Royale exists and why it's so good is I want to take you back

[00:17:06] to 1924, Jason.

[00:17:08] I'm in the way back machine.

[00:17:09] Okay.

[00:17:10] Historically, this has been an existing story point for now a hundred years.

[00:17:17] Here we are in 2024 and well, I guess 25 when somebody is listening to this, there's this

[00:17:23] movie, there was a short story written by Richard Connell.

[00:17:27] It was called the most dangerous game.

[00:17:29] And it was published in Collier's, which was a weekly magazine back in the twenties.

[00:17:35] And, uh, the story of the short story is about a big game hunter who goes on a hunt on a, and

[00:17:44] they take a boat to a private Island to look for this Jaguar.

[00:17:48] But when they get there, essentially they turn over the guests to be hunted.

[00:17:54] And it's the whole thing of like, come on this hunting trip and everything else.

[00:17:58] And it's this big game guy, but he brings the people with him to turn them into the game

[00:18:03] that he's going to actually hunt on this Island.

[00:18:05] This, this is sort of the borderline plot to, um, Craven's last hunt, Spider-Man crossover

[00:18:12] in the eighties, which they've just barely made a movie about.

[00:18:15] But, uh, anyway, I'm just saying Craven, the hunter can't find anybody better.

[00:18:20] So he hunts Spider-Man.

[00:18:22] I love that.

[00:18:23] I'm talking about a hundred year old short story and you still find a way to connect it

[00:18:28] to a comic book.

[00:18:29] I mean, yeah.

[00:18:30] I mean, this is the eighties.

[00:18:31] So this is, this is, you know, 40 years ago.

[00:18:33] Sure.

[00:18:34] What's interesting though, is that with this in the short story, the lead hunter, he gives

[00:18:41] them food and he gives them a knife and he's like, you got to come to the

[00:18:45] couple hour head start, start running essentially.

[00:18:48] Cause he's like a man of luxury, right?

[00:18:50] And he's just like, this is what he wants to do.

[00:18:52] What I thought was interesting about reading that story.

[00:18:55] I got turned on to a movie by the same name that was released in 1932.

[00:19:00] It wasn't very well received at the time, but the idea itself became very popular.

[00:19:07] And then in 1943, there was a CBS radio play series called suspense, kind of like a precursor

[00:19:15] to the, uh, twilight zone radio play.

[00:19:18] Yeah.

[00:19:18] Um, which Stacy catches it.

[00:19:19] Yeah.

[00:19:20] So they did a rendition of this story, the most dangerous game.

[00:19:24] And it was narrated by Orson Welles.

[00:19:27] Of course, the, uh, by this time, the story became a little bit more popular and people

[00:19:32] were talking about it and it sort of dug up or excavated it at the time.

[00:19:37] It was only a 20 year old story.

[00:19:38] But now to this day, it's actually the most popular short story ever written in English.

[00:19:46] Hmm.

[00:19:47] Yeah.

[00:19:48] Interesting.

[00:19:49] I mean, I know this movie is based off of a short story called, uh, seventh victim, which

[00:19:57] is from 53.

[00:19:59] Yes.

[00:19:59] I saw that too.

[00:20:00] And, and from what I've read of seven victim, it's, it's basically just the idea of the game

[00:20:07] that's tied around that's the same, the actual bear, you know, stuff around the rest of the

[00:20:11] story are actually pretty different.

[00:20:14] So, yeah.

[00:20:15] So after all this, we're here watching this movie in 65, but this isn't the only humans

[00:20:22] hunting human movie that was released in 1965, believe it or not.

[00:20:27] Wow.

[00:20:27] There was another movie called naked prey, which was a flip flop of the story.

[00:20:33] And it's basically a reverse where there's two guys on a elephant hunting safari and they

[00:20:41] get jumped by a tribe and the tribe killed one of the guys.

[00:20:46] And then the other hunter who's left, they strip him down, they take all his clothes, everything

[00:20:51] else.

[00:20:52] And then they set him out into the wild and then they hunt him.

[00:20:56] Hmm.

[00:20:57] And so it's kind of like a spin on it.

[00:20:59] And so now we're at seven 65, we have two movies that are humans hunting humans.

[00:21:05] You know, there's a couple, I mean, you could almost say that, um, race with the devil, Peter

[00:21:09] Fonda movie.

[00:21:10] It's more like a cult movie though, but I really like it, but that's they're hunting humans and

[00:21:15] it's kind of a game, but it's like a satanic cult thing.

[00:21:18] I'm going to skip all the way to 1982 and our boy Brian Trenchard Smith releases Turkey

[00:21:24] shoot.

[00:21:24] Right.

[00:21:26] So another great human hunting human movie.

[00:21:29] And then if I can jump just to go through the history of it, another 11 years to 1993,

[00:21:35] a movie that I loved through my teenage years, which was hard target with Van Damme.

[00:21:41] And that was set in new Orleans and it's essentially an elitist group of people that are hunting humans.

[00:21:46] That's a pretty great movie.

[00:21:48] If you're ever going to watch a human hunting human movie, I would say, check out hard target.

[00:21:53] Watch, watch battle Royal, but we're not there yet.

[00:21:58] We've still got seven years to go here because 1994 is where it all meets.

[00:22:04] This is the pinnacle of human on human hunting.

[00:22:09] And that would be the ice tea box office juggernaut surviving the game.

[00:22:17] I love surviving the game.

[00:22:20] It's one of, you'll be surprised to hear.

[00:22:22] I've never seen it.

[00:22:22] Of course you haven't.

[00:22:24] It is so good, dude.

[00:22:26] It is such a good movie.

[00:22:27] It is an all star cast and it basically sets up.

[00:22:33] You don't even know.

[00:22:34] It's either Montana or Wyoming, but they're in a city and ice tea is a homeless person.

[00:22:40] And this guy doing, you know, homeless people services, like collects ice tea and says, Hey, do you want a job?

[00:22:46] I give you a real job.

[00:22:47] Be a tour guide.

[00:22:48] And then they fly out to like middle of nowhere and they're in a log cabin and everybody's having a great dinner and a meal.

[00:22:56] And he's like, man, this is great.

[00:22:58] I'm back on my feet.

[00:22:58] I'm all excited.

[00:22:59] And then the next morning, dude, I'm going to interrupt you because this also has Rutger Hauer and Gary Busey in it.

[00:23:05] And you have not mentioned them at all yet.

[00:23:07] Yeah.

[00:23:07] It's like I said, it's an all star cost.

[00:23:09] Jesus, dude.

[00:23:10] We're going to bury the lead.

[00:23:11] Dude.

[00:23:12] Zach Murray Abraham is in this movie.

[00:23:14] Everybody is in this movie.

[00:23:16] I'm going to actually have to watch this now.

[00:23:18] Charles S.

[00:23:19] Dutton.

[00:23:19] Jesus.

[00:23:19] Yes.

[00:23:20] This is peak 1994 cinema.

[00:23:25] Essentially, they wake up in the morning after their meal and Ice-T has a gun in his face and they say, we're going to give you a head start.

[00:23:34] And he says, what?

[00:23:35] And then they're like, we're going to give you enough time for us to have a nice leisurely breakfast.

[00:23:39] And that is verbatim of the original short story from 1924, The Most Dangerous Game.

[00:23:49] So through this, as much as I love surviving the game, I didn't know the short story existed before watching The Tenth Victim.

[00:23:56] And now I realize how close surviving the game is to the original, The Most Dangerous Game.

[00:24:03] So it's been a really good hundred year exploration of humans hunting human stories and films to come to this point.

[00:24:11] But six years after that, you get Battle Royale, which I know you love very much.

[00:24:15] Well, and Battle Royale is not an original movie.

[00:24:19] It's based off, it's based on a 99 novel.

[00:24:23] There you go.

[00:24:24] Of the same name.

[00:24:25] So it's, yeah.

[00:24:26] I know I saw a novel version of it that was translated in English at one point.

[00:24:30] I just wasn't sure if that was what it was or not.

[00:24:33] But yes, it is based off a novel from 1999 of the same name.

[00:24:37] Also directed by Kinji Fukusaku, who we know directed the incredibly visual Journey Virus.

[00:24:45] Yes.

[00:24:45] And starring Takeshi.

[00:24:48] Takeshi?

[00:24:49] Takeshi?

[00:24:49] Takeshi?

[00:24:50] I can't pronounce that.

[00:24:50] Takeshi Beat?

[00:24:52] Anyway.

[00:24:52] Yeah.

[00:24:53] The dude's awesome anyway.

[00:24:54] Yeah.

[00:24:55] His remake as Atoichi the Blind Swordsman is so good.

[00:25:00] Now that we've covered the backstory of the history of why these, of how long this type of movie's been around for, this is probably the most lighthearted version of all of them, I would say.

[00:25:12] Yeah.

[00:25:13] This is very wild.

[00:25:15] Like, as I said, this is essentially a comedy.

[00:25:17] It is very much a satire.

[00:25:22] It's definitely lighthearted and it is not played for you to take it realistically because everyone's cheering people when they get killed.

[00:25:31] It's quite funny.

[00:25:34] It's probably a bit of a take on commercialism than anything else.

[00:25:38] It's, you know, as Ursula's, you know, works on getting a sponsor because she's working her way towards, I think she's about to be her, I think this guy would be her 10th victim, I think is how it plays out.

[00:25:51] So she's destined to get a million dollars and then I think she was going to get more because if she can, she's going to shoot a live Ming-T commercial at the same time she kills him.

[00:26:03] And it's like this really funny scene where they're flying over Rome and it's supposed to be an American crew.

[00:26:08] So they are kind of lampooning Americans and their, you know, inability to have a knowledge of anything outside of their own country, I guess, because they're flying over Rome and they're like, well, how about we do it at the Coliseum?

[00:26:21] And then they fly over the Coliseum like, that place is trashed.

[00:26:24] Like, what is this?

[00:26:25] It's all in ruins.

[00:26:26] Can't shoot here.

[00:26:27] Yeah.

[00:26:27] Can't shoot here.

[00:26:28] There's nothing here.

[00:26:29] And they're like, what point they're going, what about the Vatican?

[00:26:32] It's like, no, they don't like this.

[00:26:33] They don't support this game and stuff.

[00:26:35] It's really kind of funny.

[00:26:37] I mentioned it before, but I really feel like the tone here is very much along with and ahead of its time in Death Race 2000.

[00:26:46] This was 10 years before that.

[00:26:48] Yeah.

[00:26:48] But it has.

[00:26:50] There's a lot of this movie that's way ahead of its time.

[00:26:52] Yeah.

[00:26:52] It's in its style and how it plays itself.

[00:26:55] And like I said, I really enjoyed the first 45 minutes.

[00:26:59] Maybe even closer to an hour.

[00:27:01] It's really that, like you said, that last act that things get a little too wonky and a little too played out, I guess.

[00:27:10] Yeah.

[00:27:10] I think it just doesn't, you know, it tries to be one thing and then it just turns into a full on romance movie instead of keeping up with the pace of this quirky weird thing.

[00:27:20] I mean, this is really pop art in film form, you know?

[00:27:26] Yeah.

[00:27:27] And again, the vibrance and the look is here.

[00:27:31] And you should probably mention the Andre Courage, and I'm going to butcher that name.

[00:27:38] He was a clothing designer on this movie and he was a huge deal at the time in France.

[00:27:44] He's a French designer.

[00:27:46] And I mention it only because when I'm watching this movie and everybody has all their sunglasses and all the outfits and everything.

[00:27:55] This dude likes stripes.

[00:27:57] It's interesting because this is like peak mod style, except there's none of that showcased here.

[00:28:04] And they really try and keep it like, you know, in the forms and the fit, but it doesn't have them.

[00:28:09] Yeah, there is a bit, because I would say the outfits that Olga's wearing, who is Marcello's sort of mistress.

[00:28:13] Oh yeah, the two-tone one.

[00:28:15] Yeah.

[00:28:15] Yeah.

[00:28:16] And she's got like this sort of black and white outfit.

[00:28:19] And then later on, she's wearing this other one that's all white.

[00:28:22] And it's almost reminiscent of what Leeloo wears in...

[00:28:30] Well, I was about to say that the jump...

[00:28:34] You're exactly on what I was about to say, is that basically the jump between this movie and how far ahead it is visually to the fifth element from what, like 96?

[00:28:45] And that was Jean-Paul Gaultier, who did all the clothing designs for that.

[00:28:48] And he was also extremely famous in his design.

[00:28:51] So they managed to make it really look like the future, even though it's not just in costume and wardrobe.

[00:29:01] Oh God, at one point they get into a Jeep.

[00:29:05] And it's just a Jeep from 65.

[00:29:09] I think the only difference, the only thing that makes it look different than something you would have seen in the Korean War is the fact that it's not painted olive green.

[00:29:17] Right.

[00:29:18] It's like bright yellow or something, right?

[00:29:20] Yeah, it's more like a yellowy lime green kind of thing.

[00:29:23] And that's it.

[00:29:24] That's the only difference.

[00:29:25] It's just like, you know, the dude's driving around in...

[00:29:30] He's got a convertible...

[00:29:32] Orcelandrus is driving around in a convertible Jaguar.

[00:29:34] Yeah, right.

[00:29:35] And it's just like, yeah, they're not even trying.

[00:29:39] No.

[00:29:40] But it kind of reminds me a little bit of Alphaville, which you've never seen.

[00:29:44] Certainly haven't.

[00:29:45] But the idea of that is it's supposed to be this alien planet that this guy is on.

[00:29:52] And it's very much 60s Paris.

[00:29:55] And they don't even try to disguise it.

[00:29:57] Like, they just don't do anything different.

[00:29:59] You're just...

[00:29:59] You know, the whole thing's just told in dialogue and stuff.

[00:30:02] And so...

[00:30:03] Yeah, it's...

[00:30:04] Sometimes you just have to go along for the ride.

[00:30:05] It's an interesting idea on how to make a movie, like, as a study.

[00:30:09] If, like, you're going to make a movie set in the future and you can't build sets and flying cars and everything.

[00:30:16] Like, what's the first thing you do?

[00:30:17] It's got to be the fashion, right?

[00:30:19] Like, that's...

[00:30:20] Yeah, yeah.

[00:30:20] If you do that...

[00:30:21] That's the easiest thing.

[00:30:21] Exactly.

[00:30:22] And then you can shoot it at anywhere that...

[00:30:24] In front of any building and make it look as bland or as colorful as possible.

[00:30:30] And you can kind of buy into it.

[00:30:32] And as soon as the clothing changes, it denotes everything else.

[00:30:35] Because, like, here we are talking, you know, people still love 80-year-old cars.

[00:30:40] You know, like, it doesn't mean that it's in the future everybody got rid of those.

[00:30:44] You know, it's more...

[00:30:46] It's like, how do you set it up and make it believable that it's a look and a style of that?

[00:30:51] And you just make the people wear stuff.

[00:30:52] And they don't even try hard or lean hard on, like, devices either.

[00:30:57] There's no, like...

[00:30:58] That's true.

[00:30:58] There's no war of the robots.

[00:31:01] I used this digital translator with the calculator on his arm.

[00:31:07] Nope.

[00:31:08] No.

[00:31:09] The guns all look like they're straight out of the 60s.

[00:31:13] The TV is very much...

[00:31:15] I mean, it's one of those sort of...

[00:31:17] Like, the guy's watching TV, but it's a tiny little screen.

[00:31:20] Yeah.

[00:31:20] And it's one of those kind of fancier ones that basically just looks like it's a floating screen.

[00:31:27] It's just, you know, on...

[00:31:28] You mentioned the Ming brand tea commercial earlier, which is kind of funny because there's this whole set that's being shot.

[00:31:37] And they're right by the Coliseum.

[00:31:40] And it's people in, like, noodle cups and...

[00:31:43] Or people in, like, teacups dancing with legs and everything.

[00:31:46] And it's this big old deal.

[00:31:47] But did you know that in 1990, Mike Myers and his buddies started a band?

[00:31:55] And they called the band Ming Tea.

[00:31:57] Oh, yes.

[00:31:57] Yeah.

[00:31:58] No, Ming Tea is the band.

[00:32:01] What they called...

[00:32:02] No.

[00:32:02] So Ming Tea is the band in Austin Powers.

[00:32:06] Right.

[00:32:06] That's Austin Powers.

[00:32:08] That's...

[00:32:08] What's her name from the Bengals?

[00:32:11] It's Matthew Sweet.

[00:32:12] It's...

[00:32:13] Yeah.

[00:32:13] But even before Austin Powers, him and his friends loved this movie and they made a band.

[00:32:19] Oh, there you go.

[00:32:20] So the Ming Tea reference in Austin Powers is reference of their band in the 90s where they used to dress like this.

[00:32:28] So it's like a two-tier thing that goes on, which is pretty incredible.

[00:32:34] But when you do say Austin Powers, you can see the inspiration in this movie is, you know, is high and wide right there on screen.

[00:32:42] Yeah.

[00:32:42] So Mike Myers, he did his thesis or his dissertation or whatever it is.

[00:32:48] I don't know.

[00:32:49] I only took two years of post-secondary education.

[00:32:51] I don't know what these things are.

[00:32:53] But he did it on The Hero of a Thousand Faces.

[00:32:56] And I think it was called something along the lines of The Hero of a Thousand Faces, which is this novel...

[00:33:02] Sorry, it's not a novel.

[00:33:03] It's a nonfiction book that Joseph Campbell wrote in the late 40s.

[00:33:08] And it's basically the idea of the monomyth.

[00:33:10] I actually did learn a little bit about this in school.

[00:33:12] And that every myth and every story told down from human generation all is based on one sort of central idea.

[00:33:21] And that is of a hero that has to get a magic elixir to save things.

[00:33:26] And there's a conflict.

[00:33:27] And he could...

[00:33:28] I think I've got another book that's about screenwriting in The Hero of a Thousand Faces that basically uses Star Wars as the example of this because it is so very much...

[00:33:38] It's like Lucas just read The Hero of a Thousand Faces and just followed that as a playbook to write Star Wars with.

[00:33:43] So Mike Myers, though, is like...

[00:33:48] I can't remember if he called it The Hero of a Thousand Faces or Joseph Campbell and The Spy Who Loved Me because he's such a Bond nut.

[00:33:55] So I just thought the whole thing was quite funny.

[00:33:59] No, you can tell that this...

[00:34:01] That sort of tracks for shaping, you know, like everybody knows Austin Powers.

[00:34:06] And this movie has a large component to it in a roundabout way.

[00:34:13] Oh, yeah.

[00:34:14] So much style and probably even the way it's shot.

[00:34:18] Because this thing we should say is the camera work on this, the cinematography on this is kind of wild and kind of crazy at times.

[00:34:27] Like it's not like something you've ever seen before.

[00:34:30] It looks like a 90-minute fragrance commercial.

[00:34:33] Yes, that's actually...

[00:34:35] I think that's right.

[00:34:37] I mean, there's like the scene where he pulls over to the rest stop because he wants to...

[00:34:41] And it's like a relaxation center or something like that.

[00:34:43] And he pulls over on the side of the road and he goes in and he's...

[00:34:46] But it shows it from his car's like side view mirror point of view as he drives off the highway and stuff.

[00:34:53] So you just get these...

[00:34:54] Sometimes it's like too close up that you can't even tell what you're looking at.

[00:34:58] And other times it's just like, yeah, it just goes and it's just like, oh, look, there's a bed of flowers.

[00:35:03] Yeah.

[00:35:04] And the camera just sits there and looks at it.

[00:35:05] There's a lot of strange like isometric shots as well all over it.

[00:35:09] You know, there's one shot where they...

[00:35:11] Especially from down looking up.

[00:35:13] Yeah.

[00:35:13] It's...

[00:35:13] Yeah.

[00:35:14] Because usually you think isometric, you think top down looking down at an angle.

[00:35:17] No, this is like on the cameras on the ground pointing up.

[00:35:20] Like there's one where there's two saxophone players and they're laying on these like giant cubes.

[00:35:27] One of them's folded over and it's really strange.

[00:35:30] Well, it's kind of funny because the saxophones are part of the score to what's going on in the scene.

[00:35:35] And then you end and you realize, oh, the saxophone players are in the room.

[00:35:38] Dude, I really wanted to like the score of this movie, but it wasn't a common thread.

[00:35:46] It kind of wouldn't spike up here and there, but it wasn't really something where...

[00:35:51] I don't think I'm going to buy it if I came across it, if it existed.

[00:35:55] No, I found it annoying at times, like especially the singing Italian woman.

[00:36:01] And I can say she's scatting through it, but it's not jazz.

[00:36:07] So it's...

[00:36:08] It just...

[00:36:09] It was weird and didn't work.

[00:36:11] So we've been rattling on about all of this backstory of these movies and everything else and how we got here.

[00:36:20] What is, you know, what is the five minute version or of the first act?

[00:36:25] Like how do we describe this movie?

[00:36:27] It starts, as I said, it's a cold opening.

[00:36:30] There's a hunt going on.

[00:36:33] And then we learn you're either a hunter or you're a victim and you have 10 points.

[00:36:40] And if you're the hunter, you...

[00:36:42] Again, I need to ask you this.

[00:36:43] If you're the hunter, to win your 10 points, you need to kill five victims and then you switch to become the victim and you have to survive five hunts?

[00:36:53] Yeah, but to survive the hunts, you actually have to kill the hunter too.

[00:36:58] Okay.

[00:36:59] So, yeah, because otherwise the hunter is going to keep coming until they can get you.

[00:37:02] Okay.

[00:37:03] Yeah.

[00:37:04] So that's part of it.

[00:37:05] So that's basically how I guess...

[00:37:09] I mean, this is why the opening scene doesn't make a lot of sense because I guess that's how Ursula Andress was able to kill that guy at the beginning because he was chasing the wrong woman.

[00:37:19] Or we're supposed to think that's, you know, it's Ursula Andress that he's chasing the whole time and she somehow manages to change her outfit super fast and take off a wig and everything else and then put on her gun bra.

[00:37:33] But I don't know.

[00:37:34] It does make a lot of sense.

[00:37:35] But while that scene's going on in the club, it's intercut with a guy kind of talking about the hunt.

[00:37:41] And that gives us a lot of the background information.

[00:37:45] There's an interesting point here where they're out by the saxophone players and a guy tries to shoot somebody and it's brought up that, like, you can't hunt here.

[00:37:56] This is a restricted place.

[00:37:58] And then...

[00:37:58] Right.

[00:37:59] They talk about...

[00:37:59] So they set up this world kind of like John Wick with the Continental Hotel where it's, you know, nobody can do anything here and it's sacred ground.

[00:38:10] Or I was going to say a Highlander and there's sacred ground.

[00:38:12] You can't attack somebody on a church or whatever.

[00:38:14] I love Highlander so much, dude.

[00:38:16] Yes, I do.

[00:38:17] I do, too.

[00:38:18] It's such a good movie.

[00:38:19] Let's just talk about a Highlander, dude.

[00:38:21] It's so good.

[00:38:23] So...

[00:38:23] But in this one, there are certain areas like they've...

[00:38:26] And it sounds to me like different countries have different rules around the game.

[00:38:30] Like, in Italy, they can't do that in restaurants and they can't do it in churches and they can't...

[00:38:36] Like, because he complains that, you know, in America we can just do it wherever we want.

[00:38:40] Yeah, I noticed that, too.

[00:38:42] It was specifically said you can hunt and shoot anywhere if it's in America.

[00:38:46] And he's sort of saying, like, be grateful that we have these restrictions here because if this is America, you could have been taken out.

[00:38:54] It's kind of interesting.

[00:38:55] And like I said, like, everybody else around it are very nonchalant about it.

[00:39:00] Like, none of them are worried.

[00:39:02] Guns go off.

[00:39:03] They're not worried because I guess if they realize they're not a hunter or a victim part of the game, in theory, they're going to be fine.

[00:39:09] Even though these people are, like, firing guns wildly.

[00:39:13] Yeah.

[00:39:13] And just in all sorts of directions.

[00:39:15] There's a little dystopian sort of desensitization where people just don't care.

[00:39:21] They're just used to this happening all around them and they continue out their day.

[00:39:25] And understand that these are people on the hunt or whatever.

[00:39:29] But it's almost like in a Western where you get people kind of glancing over and that's it.

[00:39:34] In the bar.

[00:39:34] Yeah, exactly.

[00:39:35] I need to remind everybody that our two main people is Caroline and Marcello.

[00:39:41] Marcello, the idea is that Caroline is set up to hunt Marcello for the first two acts.

[00:39:48] She's very much hunting him.

[00:39:49] But the third act, there's like a flip flop and then they just become lovers.

[00:39:56] Right.

[00:39:56] Like, I couldn't really understand it.

[00:39:59] Yeah.

[00:40:00] Yeah.

[00:40:00] So she is, part of her whole thing is she needs to convince him to come to, what's it?

[00:40:06] The Temple of Venus, I think, is where they decide they're going to do the Ming T commercial.

[00:40:09] And that's where she's supposed to kill him.

[00:40:12] So she is supposed to be trying to figure out a way of luring him to this location on this day.

[00:40:20] So to do that, she's basically cozying up to him early on.

[00:40:24] So she's pretending to be a journalist.

[00:40:26] She wants to interview him for a TV show that would be live on this day at the Temple of Venus.

[00:40:34] And that's the whole premise.

[00:40:36] And then the idea is Ming T is paying her a whole bunch extra to do this as a sponsor.

[00:40:40] And while she's been, because she's been cozying up to him, I should say like she's pretending to be this journalist.

[00:40:45] She's got what looks like a miniature movie camera, which is, you know, transmitting live video to her Ming T sponsors.

[00:40:53] But this woman does not have any clue how to operate a camera whatsoever.

[00:40:57] Like she, the number of shots she must have done a close up of his nose and his mouth is just insane.

[00:41:03] Because she's always just kind of stupid.

[00:41:05] She is overacting operating a camera.

[00:41:08] Like, it's like, if somebody told you.

[00:41:09] I will not have you belittle Ursula Andrews.

[00:41:12] She is perfect.

[00:41:13] I know, I can't.

[00:41:14] There's no, there's, there's no getting by Jason when it's a Bond girl, really.

[00:41:18] I mean.

[00:41:19] Exactly.

[00:41:20] Exactly.

[00:41:21] Yeah, but she is.

[00:41:22] Don't even get me started on Jane Seymour.

[00:41:23] Again, through these scenes, there is these larger than life components that show up throughout the movie where they're trying to, trying to make the stakes higher.

[00:41:37] And then, you know, they're at this hotel and these guys bring a live alligator like over to the pool.

[00:41:44] So, so that's part of the, so that's part of the double cross that Marcello is trying to do for Caroline.

[00:41:50] Because he realizes that Caroline's got to be his hunter because she really wants him to go to this location.

[00:41:56] But at the same time, he's developing a thing for her and she's developing a thing for him.

[00:42:01] Now, Marcello, of course, in typical Italian 60s male fashion has a wife that he is only just recently been divorced from.

[00:42:09] He's had a mistress for years that he doesn't particularly like that is desperate for him to get married.

[00:42:14] So he hasn't been in a rush to get divorced.

[00:42:16] And then now he's actually falling for, for Caroline, which is Ursula.

[00:42:21] And of course he would because it's Ursula.

[00:42:23] I'm just saying.

[00:42:24] But, so he figures out that she's trying to settle this up.

[00:42:29] So he tries to set up a double cross.

[00:42:31] And this is where in the last act it gets kind of wonky.

[00:42:34] And it really kind of solves to fall apart because they're trying to double cross each other.

[00:42:37] And they take it to an absolute extreme at the end of the movie.

[00:42:41] And that's where the alligator comes in from.

[00:42:43] But he is, so she's trying to get him to go to this thing.

[00:42:46] He's been talking to his, his buddies about, I think it's her and stuff.

[00:42:50] And, and meanwhile, there's like a subplot with his wife that he, you know, she goes, Ursula goes with him to his, to his ex-wife's house.

[00:43:00] Cause he's hoping to get some of his money that he's won so far that it's basically his ex-wife has already spent on him.

[00:43:05] And she's, you know, he's got like this gun set up, like this gun range set up in his house.

[00:43:10] This is one of the more weirder elements.

[00:43:12] And there's a bunch of them in this movie.

[00:43:14] He's got this gun range set up and she's taken shots.

[00:43:16] And of course she's getting a bullseye in each shot.

[00:43:18] She turns it to the side, gets a bullseye on, on, on this one little dot.

[00:43:23] The wall slides open and there's this old couple in there playing cards at a table.

[00:43:29] It's so bizarre.

[00:43:31] You find out it's his parents.

[00:43:32] And this is where I had a note.

[00:43:34] Like, is this supposed to be like a Logan's run situation?

[00:43:36] Because apparently, and I realized this, you don't see any real old people in this movie.

[00:43:41] No, you're right.

[00:43:42] This is the first time.

[00:43:43] And I guess if you're at a certain age, you're supposed to head off and, and be.

[00:43:49] Processed into like dog food or something.

[00:43:51] I don't know.

[00:43:51] Probably what people got sent off in dead end drive-in once they spent their time at the drive-thru.

[00:43:58] Yes, exactly.

[00:43:59] But it's interesting because there's this whole training center.

[00:44:02] It's a house where people are jumping over and there's cars driving around.

[00:44:06] They're doing flip.

[00:44:07] It's again, it's style over substance is this movie all in all over.

[00:44:13] But what I'm trying to figure out is two thirds into the movie, the second act.

[00:44:19] How many points of hunting and victim do either of them have at this point?

[00:44:24] Are they at their final point?

[00:44:26] Both of them?

[00:44:26] I don't think he is.

[00:44:28] I think he is at like six or seven or eight or something like that.

[00:44:33] I think she is at 10.

[00:44:34] So she survived all of the victim and she's, she's running out the hunt now.

[00:44:41] Yeah.

[00:44:42] So I think the hunt is her last, her last one.

[00:44:45] Okay.

[00:44:45] And he has already survived hunt and now he's living victim for the last.

[00:44:50] Yeah.

[00:44:50] He's done it a few times.

[00:44:51] So I think he, but I don't think he's as high as she is.

[00:44:54] So he, you know, she stands to gain more, I think than he does.

[00:44:59] Um, cause I think she's at the ultimate million dollar prize.

[00:45:02] And then on top of that, she's got a response.

[00:45:04] It just, yeah, it just wasn't clear to me.

[00:45:05] And I was trying to find the sense of threat or the stakes and I, I couldn't understand it.

[00:45:11] And the only, the only threatened stakes are their own lives.

[00:45:15] That's it.

[00:45:15] There's nothing else.

[00:45:16] Right.

[00:45:16] But I also don't know their standings in the world of, it's not very clear.

[00:45:21] Their standings in the world of like your hunter, your victim, and you've got this many left.

[00:45:24] And like I said, maybe it's mentioned once I missed it, but I feel like the right way to make this movie is to play and lean on that component a lot and be like, okay, you've only got this many left or have a count and have something visual that you understand where they stand in the gamut of this hunt.

[00:45:43] Because.

[00:45:44] And, and all I just realized they might both be on number 10.

[00:45:47] Okay.

[00:45:48] Because, I mean, the movie is called the 10th victim and Marcello is a victim in this, it, it, this scenario.

[00:45:55] Like they both, they both start the movie in opposite roles and then they complete them.

[00:46:00] And then they, so he's a hunter at the start.

[00:46:02] He kills the guy with the boots.

[00:46:04] She's a victim.

[00:46:05] She kills that guy who's hunting her.

[00:46:07] And now they get, I think that makes a bit more sense because there's no clear way on why you get picked to be hunter or victim to begin with.

[00:46:15] Yeah.

[00:46:16] There's just a flip flop for whatever reason.

[00:46:17] But I was just trying to rack my brain around it as I was watching it.

[00:46:21] Like how, how is this funneling down and why should I care as somebody watching the movie?

[00:46:27] And.

[00:46:28] Well, the weird thing is, is they're not the only one, they're not the only game in town either.

[00:46:33] Like there's, there's a few instances where there's other hunters and victims running around them at the same time.

[00:46:40] Like this is not.

[00:46:41] So.

[00:46:42] Well, there's that scene with the woman that runs up the stairs and then the guy gets out of the car and shoots her.

[00:46:46] And, you know, like it's happening all around them.

[00:46:50] Yeah.

[00:46:51] And then he gets it.

[00:46:52] And the guy who shoots her gets a ticket because he parked on the wrong side of the road.

[00:46:55] Yeah.

[00:46:56] That's actually a good little microcosm of the, the satrical wild world of this.

[00:47:02] Like he blasts this woman in the back, but what he actually, his punishment is that he didn't park in the right spot.

[00:47:08] Like.

[00:47:09] Well, that, that happens right at the very beginning too.

[00:47:11] Right.

[00:47:11] Because the, the, the, the initial hunter who's chasing that woman right off the very, very start, she runs out, like leaves this sort of desolate built, like rubble building part that she's first hiding in runs out onto the street.

[00:47:24] And this cop stops the hunter and he's like, Hey, what are you doing?

[00:47:27] And the guy's like, Oh, I'm a licensed hunter.

[00:47:29] And he shows him his badge and, and then he lets him go.

[00:47:32] So you're, you're supposed to get the idea that these, this, what they're, they're doing is licensed.

[00:47:37] Um, and it's cool.

[00:47:38] And of course no one's batting an eye to it.

[00:47:40] Right.

[00:47:40] But they show you that right off the start.

[00:47:41] But there's, there's other times when like, cause then when they're at the restaurant, um, you know, uh, Marcello is talking to the other guy who's a hunter and he's, that's the guy who's complaining.

[00:47:52] Like I, you know, so many places in this country where you can't hunt.

[00:47:56] Right.

[00:47:57] And, and you get the idea too, at one point when Marcello and his friend are talking like, um, that, you know, why hasn't anyone now that he's a victim, no one's taken a shot at him.

[00:48:08] And it's been a couple of days already.

[00:48:11] And there's like, well, maybe he's not in the country yet.

[00:48:14] You know, they got to get to you.

[00:48:16] So it'd be, I guess that this computer pairs people up all over the, all over the world.

[00:48:21] And it could be, you know, it could be kind of random.

[00:48:24] So I guess it's a fluke that these two got connected and they happened to be able to, well, I should also add, I think we're spending a lot more time trying to figure this out than the screenwriter did.

[00:48:34] Yeah.

[00:48:35] Well, because I think the switch for me is the first two acts, even though it's not clear and I don't understand who has how many points and whatever it is.

[00:48:44] I know that the first two acts established that they're leading up to both of them are on their last mission, whatever it be.

[00:48:51] He's got to survive.

[00:48:52] She's got to kill.

[00:48:54] Yeah.

[00:48:54] But the flip flop on the third act, when the movie just sort of lost me was when it just turns into this romance novel.

[00:49:03] Now they're in love and they just want to hang out together.

[00:49:06] And, you know.

[00:49:06] But at the, at the same time, they're still trying to get one up on each other.

[00:49:12] So they know who each other are.

[00:49:14] Like Marcello realizes that Carolyn is it.

[00:49:17] And then, then actually she manages to convince him that she's not.

[00:49:20] Right.

[00:49:20] Right.

[00:49:21] But then, you know, then she drugs them.

[00:49:24] And that's when she airlifts them over to the temple of Venus and they go from there.

[00:49:28] But I mean, at one point he shows up at the temple of Venus and he, he sneaks away from her because I think he drugs her or something too.

[00:49:34] Right.

[00:49:34] To get away from her.

[00:49:35] Yeah.

[00:49:35] And then, then he shows up and this is where he's trying to find out if she's legit or not.

[00:49:40] And he's like, well, these people are a little odd there.

[00:49:42] Cause there's that whole like cult group that are on the beach.

[00:49:46] Well, yeah.

[00:49:47] And, and he's the leader of it, which I find hilarious.

[00:49:50] And that they're like the, they worship the setting sun.

[00:49:54] And, and this actually did kind of make me laugh because they do this whole thing.

[00:49:57] And, you know, she's driven to tears because she witnesses it.

[00:50:00] And he's talking about how, you know, farewell to the sun and sun's giving up, giving up life for us and gives us life and all this stuff.

[00:50:07] And they're like, yeah, they worship the setting sun.

[00:50:10] And then right as it's done, they're like, you know, he counts it down.

[00:50:17] And right as the sun, it sets, there's a bunch of other guys that start throwing like fruit and vegetables at them, tomatoes and things.

[00:50:24] And you realize that's why they're all wearing these, these plastic raincoats essentially.

[00:50:30] Yeah.

[00:50:30] Yeah.

[00:50:30] They all get these clear raincoats on there.

[00:50:32] All have swimsuits on underneath because I guess after the sun sets, they're all supposed to go for a swim in the ocean.

[00:50:36] But all these guys start throwing this stuff at it and you find out they're like moon worshipers.

[00:50:42] It's again, this is where it lost me.

[00:50:44] And if you guys listening to like, this is for the listeners, like weird, weird tangent in this movie.

[00:50:50] Yeah.

[00:50:51] This movie is a visual journey.

[00:50:53] There, there is not anything you learn from the actual seeing it in the acting or anything else.

[00:50:59] You know, like a good example of being a visual.

[00:51:02] Did you see that shot in the apartment and up on the wall is the Roy Lichinson phantom poster.

[00:51:11] And it's like, yeah, that's a great example of like this movie and it's visual stuff is like, you know, it has Roy Lichinson posters in the background.

[00:51:19] Like, well, and they're, they're carrying out a rack full of old comic books at one point too.

[00:51:25] And his mistress, cause what happens, I guess when he becomes a victim, they call all this furniture out so it doesn't get destroyed.

[00:51:31] And, uh, he's like, we'll take the TV last cause I'm watching a show.

[00:51:35] But you know, she's upset because she's like, my classics are all gone.

[00:51:38] And then he cut later on where he's just sort of sitting out in the open and he's just reading a comic book.

[00:51:42] You would like freeze framing every page of that comic book.

[00:51:46] Well, they're, they're like Disney comics and stuff that I, I couldn't care less about.

[00:51:50] But, um, it's not like he had a Spider-Man or anything.

[00:51:54] It would have been wild if he did cause that was the sixties and nobody had any idea what those would be.

[00:51:58] Sure.

[00:51:58] Especially over there.

[00:51:59] Yeah.

[00:52:00] Yeah.

[00:52:00] But it's a lot of Western comics and, and European stuff and, and Disney stuff that's all there.

[00:52:06] And, but they call it the classics, which I, which made me laugh.

[00:52:10] Cause it's gotta be the classics of then because this is a hundred years from when this is set almost.

[00:52:16] So I understand what they're attempting to do.

[00:52:19] Yeah.

[00:52:20] Demolition man does a much better version of that when they're in Edgar friendly's underground and they see the old reveal and Huxley is like, Oh my God.

[00:52:30] She's like a 70 old reveal four, four, two.

[00:52:32] And she's like this with radial tires and bucket seats.

[00:52:35] And he's like, she's like, does this mean we're going up?

[00:52:38] And Stallone pulls the lever and the elevator goes up and it explodes through the floor of a futuristic Oldsmobile dealership.

[00:52:49] And the car is like, it's so good.

[00:52:51] You know, that's the good version of this moment.

[00:52:54] Yeah.

[00:52:55] Yeah.

[00:52:55] I suppose.

[00:52:56] But you know, they had to, they had to get their inspiration somewhere.

[00:53:00] Sure.

[00:53:00] And I mean, this thing is just like, it's, it's very mod.

[00:53:04] It's very pop.

[00:53:05] It's very kitschy.

[00:53:07] It's it is not taking itself seriously, but it's just, it doesn't all gel quite right.

[00:53:14] No.

[00:53:14] And I think that's it.

[00:53:15] You know, and when you get to the end where it's like double cross by double cross by double cross by double cross with no effort put into it other than a bit of dialogue.

[00:53:24] So explain the ending to me, because basically they fall in love in the third act and now they're on a plane and they're not trying to kill each other and they're getting married or something.

[00:53:35] And that's kind of the end.

[00:53:37] Okay.

[00:53:37] So, yeah.

[00:53:38] So, so what happens is we get up to where, you know, he decides he, he gives her his gun.

[00:53:48] And cause he's like, you know, you know, cause he's trusting that she's not going to kill him.

[00:53:54] And, you know, then she does because it's the whole ming titsa and she's arguably very upset when she does it, but she's been goaded into doing it and she does it.

[00:54:02] And he gets shot and he falls down.

[00:54:05] Then, um, then everyone, like she wanders off and everyone like wanders off.

[00:54:09] Then I was like, where's the body?

[00:54:10] Where's the body?

[00:54:11] And you realize he's not dead.

[00:54:12] So he's now got a gun and he's, you know, he's got her and she's like, Oh, thank God you're alive.

[00:54:19] I didn't want to do it.

[00:54:20] And he's like, yeah, but you did.

[00:54:21] You shot me.

[00:54:22] And so I can't trust you.

[00:54:24] So he shoots her and she goes down.

[00:54:27] And then we got again to him sitting on some stairs by himself.

[00:54:33] And he's very upset because he's killed the woman he loves.

[00:54:35] And she's now got a shotgun or, and she's shooting at him.

[00:54:39] And he's like, Hey, stop it, stop it.

[00:54:41] And then he realizes he must have a bulletproof dress on.

[00:54:44] And she's like bulletproof underwear or something.

[00:54:45] Right.

[00:54:47] Or it's, it's bulletproof skin tone or something.

[00:54:50] And, uh, and then they're like, you know, still mad at each other, but they still love each other and they're arguing.

[00:54:56] And then that's when Marcello's ex-wife and Olga both show up and they're pissed and they want to kill them both, kill both of these people because they both love Marcello and they've been screwed over by him.

[00:55:07] And so they, they come in and attack.

[00:55:09] And so there's this whole shootout for no reason whatsoever chasing away.

[00:55:13] Olga then like hooks up with the, the guy that Caroline tries to make Ursuline just tries to make Marcello, you know, jealous with earlier in the movie and takes off with him.

[00:55:24] And I can't remember what happens to the ex-wife.

[00:55:26] She just kind of disappears.

[00:55:28] These guys, you know, they, this is when they get into the Jeep we're talking about and they drive off and they get on a plane.

[00:55:34] And Marcello is like super exhausted and they sit down on the plane.

[00:55:37] He's like, I love you.

[00:55:38] And you know, I just don't want to get married because I've been married and I don't want to do that again, but I'll live with you.

[00:55:44] I'll have children with you and all the stuff he just says he'll do.

[00:55:46] All he just doesn't want to marry, but they get on a plane.

[00:55:49] That is like, everyone's getting married.

[00:55:51] Although it's, it looks like this weird cult plane thing because all the women have these weird bonnets on.

[00:55:56] Thank you for saying that.

[00:55:57] Cause he threw me.

[00:55:58] I mean, yeah.

[00:55:59] Yeah.

[00:56:00] I didn't quite understand it either, but there is the captain is wandering through and there's a priest wandering through and he's like, what is this?

[00:56:08] Like a matrimony or something?

[00:56:10] Yeah.

[00:56:10] And then they get to them and basically, you know, the captain pulls a gun on Marcello and tells him he's got to agree to get married.

[00:56:19] So he does.

[00:56:20] And then the last shot is, I think the captain of the plane shoots them both in their seat.

[00:56:26] So it's like credits roll.

[00:56:28] I, and I'm just like, okay.

[00:56:31] I'm glad that I got your son.

[00:56:32] Cause I, I couldn't tell you how this worked or whatever.

[00:56:35] And, and I couldn't explain it without sounding like I'm insulting the movie.

[00:56:42] And when I say, I don't understand, I don't understand, but I'm not trying to say this is a terrible movie or anything.

[00:56:47] It's just.

[00:56:48] No, there's, there's lots where you just kind of have to go with the flow because a lot of it doesn't make sense.

[00:56:54] And I, it really does feel like that's by design.

[00:56:58] Yeah.

[00:56:58] It, I'd almost say it doesn't know what it is.

[00:57:01] It knows what it is visually, but it doesn't know what it is.

[00:57:05] Cause it turns from, you know, this sci-fi thriller to this slapstick comedic love story, I guess.

[00:57:14] And which is quite a shift.

[00:57:16] I don't know.

[00:57:17] I mean, I love the look of it.

[00:57:19] I really enjoyed it.

[00:57:20] Yeah.

[00:57:21] I wish what I wished is that it had great music to go with the visual.

[00:57:24] Cause I feel like for a movie like this and the time period, he was missing like a great score.

[00:57:30] Yeah.

[00:57:30] I think the thing with this is this is a movie that I would own.

[00:57:36] Oh, I'm serious.

[00:57:36] I found a local supplier who's got it and I'm like halfway through the movie.

[00:57:41] I'm like, I want to buy this.

[00:57:42] Where am I going to buy this?

[00:57:43] And Amazon didn't have it in stock, but, uh, the CNL multimedia.

[00:57:47] It's something to have the collection because it's very unique and it's all driven by the look for sure.

[00:57:54] Like I said, I wish it sounded better or had some, something to add there, but visually it's there.

[00:57:59] And it is, you know, you know, small amount of films over a hundred years of humans hunting humans.

[00:58:08] You have to have this in the collection.

[00:58:10] Uh, even the hunt from like what, 2020 came out during the pandemic.

[00:58:15] That was actually a pretty good little movie.

[00:58:17] Like I enjoyed that.

[00:58:18] Yeah.

[00:58:18] It's on my list.

[00:58:19] I haven't watched it yet, but I keep meaning to.

[00:58:21] This belongs in that stack.

[00:58:23] Like, you know, for me, like if I talk about surviving the game, I can't not talk about this movie now because it's

[00:58:28] a big part of it and it's a little more satrical.

[00:58:32] It's a little more comedic, but it's still an important movie I think in history.

[00:58:36] Well, the genre has definitely had a resurgence lately, probably fueled by, you know, four Hunger Games or five now Hunger Games movies.

[00:58:44] So, um, but I mean, there was also that ready or not was only a few years ago too.

[00:58:49] Um, or a couple of years ago, which was a smaller scale, but similar idea of, uh, you know, a girl being hunted in a mansion.

[00:58:58] Basically where she's playing hide and seek, but if she gets caught, she's killed sort of thing.

[00:59:01] So IMDb score of 6.6.

[00:59:04] Yeah.

[00:59:05] Yeah.

[00:59:05] That's probably good.

[00:59:07] It's better than what I'm seeing on, um, on Plex, which give says rotten tomato says it's 80%.

[00:59:14] And the audience score is 78%.

[00:59:16] Let's be clear.

[00:59:17] This isn't twice as good as Starship invasions.

[00:59:22] I liked it more than Starship.

[00:59:24] I did not.

[00:59:25] Yeah.

[00:59:25] I know.

[00:59:25] Starship invasions is a whole package.

[00:59:28] This is a visual journey, but that's about it.

[00:59:32] So I do feel a little, I don't know, short changed by it.

[00:59:37] Well, I'm, I'm still dumbfounded that I thought this was going to be like a film noir and, uh, just like, it's so, so the opposite of that.

[00:59:46] It's insane.

[00:59:47] What I'm also like, other than the fact that it's kind of set in the future, there's no real sci-fi component here.

[00:59:54] So I was also waiting for that.

[00:59:56] So I felt a little, this is just a 60s love story.

[01:00:00] It's like, curl fashion and stuff, but there wasn't anything else that was, aside from the basic story and stuff.

[01:00:07] I mean, this is a sci-fi movie on the cheap.

[01:00:09] Yeah.

[01:00:09] So if I was to do it again, I would say it's probably not fit with the other movies that we've done other than it's unknown, but it's not in my wheelhouse in any which else way.

[01:00:21] I think, I think it's kind of prime for a revamp.

[01:00:26] Um, it would have to be a bit different.

[01:00:28] It would have to think it would, it would have to satire more the ideas of battle Royale and the hunger games and the running man and that sort of thing.

[01:00:40] Now, all the stuff that came after it, it would just.

[01:00:42] Otherwise it's otherwise it's like a 1960s version of Smith versus Smith or whatever that Angelina Jolie Brad Pitt movie was.

[01:00:51] But they're both secret agents.

[01:00:53] A little bit.

[01:00:54] Yeah, I guess.

[01:00:54] Yeah.

[01:00:55] So it, it needs a bit better of a hook to get mean on it.

[01:00:59] Not saying I'm sure that movie is a hit, but yeah, it needs something else.

[01:01:04] I'm like I said, I loved the first half of it.

[01:01:07] Second half became a bit of a slog.

[01:01:09] It's, uh, um, but I, but I enjoyed like the kitschiness of it.

[01:01:15] The look of it, the style is great.

[01:01:18] That's the best thing it has going for it.

[01:01:19] Pull up the trailer, like a good proper two, three, five wide trailer that you can actually see it like a modern one.

[01:01:27] And it's vibrant.

[01:01:29] It's rich.

[01:01:29] It looks cool.

[01:01:31] Some people might like it.

[01:01:32] It's yeah.

[01:01:33] I'm, yeah.

[01:01:34] I'm not putting it down there with a blue monkey, but it's, you know, didn't know.

[01:01:40] It's definitely not.

[01:01:40] It's not a bad movie.

[01:01:42] It's just not that interesting.

[01:01:45] It, no, it just doesn't completely work.

[01:01:48] It's, it's, it's like, it's a three quarters of the way there, but something just doesn't.

[01:01:53] I think you're right.

[01:01:54] I think that's what it is, is that it's not that it's not interesting because I was very interested at the beginning.

[01:01:59] I don't want to know more, but it never told me more.

[01:02:03] And so I tired of it because I, it got me on the hook right away.

[01:02:08] And I was like, I want to know more.

[01:02:09] I want to learn more about this world.

[01:02:11] And it never showed me.

[01:02:13] So I think that was the fail of it.

[01:02:15] Yeah, I suppose so.

[01:02:16] But, um, I enjoyed looking at Ursula Andrews.

[01:02:19] So that gets some points for me right there.

[01:02:21] There you go.

[01:02:22] And, um, and again, I, I enjoyed it for the, and just, you know, seeing all these things that have inspired so many other things.

[01:02:30] It's always fun to discover these movies where, you know, where these, these inspirations come from.

[01:02:38] Absolutely.

[01:02:38] Yeah.

[01:02:39] I mean, that is a good point.

[01:02:40] I mean, Austin Powers is Austin Powers because of this movie in a lot of ways.

[01:02:44] So.

[01:02:45] Oh yeah.

[01:02:46] Way more than I expected.

[01:02:48] And, and I mean, I, as soon as I, you know, the brassiere bullet thing, that's in the first 10 minutes of the movie.

[01:02:54] And I just thought, oh wow, that's where Austin Powers gets at.

[01:02:55] And then as I'm watching more and more of it, I'm going, oh, there is so much inspiration from this.

[01:03:00] Yeah.

[01:03:01] I'm yeah.

[01:03:02] I totally agree on that.

[01:03:03] Yeah.

[01:03:04] This does make me want to seek out the original story it's based on.

[01:03:08] Um, and I may check that out at some point.

[01:03:10] Like I said, the most popular short story ever written in English.

[01:03:14] So I would recommend that.

[01:03:15] I mean that.

[01:03:16] Yeah.

[01:03:16] But that, but I also mean the, the seventh victim too, that this is a 50s space.

[01:03:21] I think if I was going to do anything about this, I would probably go watch the 1932 movie, the most dangerous game, which is what this short story, that movie became based off the original short story.

[01:03:35] But of the same year, I'm a little more curious about the movie.

[01:03:39] I mentioned also naked prey.

[01:03:42] About the big game hunter who the natives turn on him and hunt him.

[01:03:47] And that seems a bit more serious and interesting.

[01:03:50] I have just been looking up and I have discovered that there is the most dangerous game.

[01:03:55] A remake was made in 2017.

[01:03:58] Gross.

[01:03:58] And another one in 2022.

[01:04:01] Oh, the 2022 has got Casper Van Dean and Judd Nelson in it.

[01:04:06] Wow.

[01:04:07] Wait, wait, wait, wait.

[01:04:10] Wait.

[01:04:11] Starship troopers and breakfast club in the same movie.

[01:04:16] Seems like it.

[01:04:18] And then there's another one called dangerous game.

[01:04:20] The legacy murders, which sounds very familiar to me.

[01:04:22] And I got to look this up real quick.

[01:04:24] That's got a family.

[01:04:26] Okay.

[01:04:26] So this is more like a take on ready or not a family reunion or mansion takes a lethal turn when they are trapped inside and forced to play a deadly survival game.

[01:04:36] Only one will make it out alive.

[01:04:38] And that is dangerous game.

[01:04:39] The legacy murders.

[01:04:41] And oh yeah.

[01:04:41] Okay.

[01:04:42] So I've worked with the director before.

[01:04:43] That's why.

[01:04:44] Of course you have Sean McNamara.

[01:04:47] I bet you it was shot here.

[01:04:48] And I bet you.

[01:04:49] Well, a company used to work.

[01:04:50] Yep.

[01:04:50] There you go.

[01:04:51] I just looking at the producers.

[01:04:53] Of course.

[01:04:54] So they made it at Front Street after I left.

[01:04:56] Oh, that's your bread and butter is Front Street.

[01:04:59] Yeah.

[01:04:59] So I know the editors.

[01:05:01] I know the DP.

[01:05:05] I know half the producers.

[01:05:07] So let me say, as soon as you mentioned that about that being set at a mansion,

[01:05:13] that immediately makes this movie better to me.

[01:05:17] Because this movie, while it's not world scale like virus, it still moves.

[01:05:22] And you're in different places and they move around their different locations.

[01:05:26] I'm very much not a fan of movies set in one location for the sake of being in location.

[01:05:34] Well, it's usually done for budget purposes.

[01:05:36] Exactly.

[01:05:37] And so, you know, like, I think the best example of that is probably the new Dread.

[01:05:44] I love that new Judge Dread.

[01:05:46] Do not be belittling that.

[01:05:48] I'm not belittling it.

[01:05:50] I'm saying it's a good movie that's set in one location.

[01:05:54] The best interpretation of Judge Dread that we've had on film.

[01:05:56] Negative.

[01:05:56] No, 100%.

[01:05:59] 100%.

[01:05:59] Because you know what?

[01:06:01] Carl Urban does not take his helmet off.

[01:06:03] Doesn't matter.

[01:06:04] Because if somebody's taking their helmet off, it's going to be Stallone.

[01:06:07] Yeah.

[01:06:07] He shouldn't be taking.

[01:06:08] Jared does not take his helmet off.

[01:06:10] Come on.

[01:06:10] The Angel Family.

[01:06:11] What's it?

[01:06:11] Cursed Earth Pizza.

[01:06:13] Like, it's so much.

[01:06:14] The real Dread is a great movie.

[01:06:16] I like Judge Dread.

[01:06:19] It is not Judge Dread.

[01:06:21] That's my problem with it.

[01:06:22] It is not Dread.

[01:06:24] Whereas Dread is Dread.

[01:06:26] Nah.

[01:06:27] It is.

[01:06:28] It is.

[01:06:28] I think we agreed to disagree on that.

[01:06:30] No.

[01:06:31] I think you can defer to the guy who knows the comic books and knows what it's based on,

[01:06:36] knows the source material.

[01:06:37] And I can tell you Dread is more true to the source material than Judge Dread is.

[01:06:42] Right.

[01:06:43] End of story.

[01:06:44] I can't.

[01:06:44] And then Marion DeSante is way too pretty to be in that movie.

[01:06:47] I can't.

[01:06:48] I can't comment.

[01:06:49] Look, if you call yourself such a big comic nerd and you're big into Judge Dread comics.

[01:06:56] I'm actually not.

[01:06:56] That's the funny thing.

[01:06:57] I have one book and I don't.

[01:06:58] I would say.

[01:06:59] Yeah.

[01:07:00] See, you can't even say that because you probably couldn't even tell me what ABC Warriors stand for.

[01:07:07] I don't know.

[01:07:08] I found you right.

[01:07:08] So the 2000 AD spinoff of the ABC Warriors were atomic, bacterial, chemical warfare robots.

[01:07:20] And guess where the ABC Warrior appears?

[01:07:24] In the Stallone Judge Dread movie.

[01:07:26] It doesn't appear in that Dread apartment movie.

[01:07:30] Yeah.

[01:07:31] But the Dread apartment movie has got Judge Anderson in it at least.

[01:07:33] So there is that.

[01:07:35] Which I guess, I guess Judge Anderson's in the Stallone movie.

[01:07:38] Absolutely.

[01:07:39] And a better character in every which way.

[01:07:41] No.

[01:07:42] She's not properly psychic in that movie and Judge Anderson should be.

[01:07:46] But anyway.

[01:07:47] I don't know.

[01:07:48] I'll defend that for a long time.

[01:07:49] But as far as I'm concerned, Dread.

[01:07:52] I like it.

[01:07:52] Even Rob Schneider aside, I enjoy that movie.

[01:07:55] It's just not Judge Dread to me.

[01:07:57] That's all I'm saying.

[01:07:58] Is Dread in a lot of ways is almost a remake of The Raid.

[01:08:02] It's the same basic story.

[01:08:04] And I love both of them equally.

[01:08:05] That's all I want to say.

[01:08:07] Yeah.

[01:08:08] The second one of Raid was good too.

[01:08:10] Yes, it was.

[01:08:12] There's a whole sort of sub-genre of those that The Raid kind of falls into.

[01:08:16] District B-13 is one that comes to mind.

[01:08:19] I remember that.

[01:08:19] That's like a lot of parkour stuff.

[01:08:21] It's a French movie.

[01:08:23] You know what I can say about parkour stuff?

[01:08:25] Is that Lexi Alexander, who directed the best Punisher movie, Punisher Warzone.

[01:08:30] I agree with that.

[01:08:31] Yeah.

[01:08:32] When the parkour guys are hunting Punisher and they're jumping across the rooftops and

[01:08:37] Punisher shoots an RPG and it hits one of the guys and turns him into vaporized.

[01:08:43] It just turns him into complete dust.

[01:08:45] And in the commentary, Lexi Alexander, she says, yeah, well, you know, nobody likes parkour

[01:08:50] guys anyway.

[01:08:52] It's one of the greatest commentaries ever.

[01:08:55] It does.

[01:08:56] That scene does make me think of Kick-Ass 2 where the guy gets blown out the window.

[01:09:00] And he's just shooting like straight out and then just explodes in the big wide shot.

[01:09:04] And that makes me laugh every time.

[01:09:05] If you're talking about people getting shot out of a window and exploding, I couldn't recommend

[01:09:10] more than Death Wish 3.

[01:09:13] The ending for that is probably the best example of a body flying out a window and exploding

[01:09:20] in cinema history.

[01:09:22] Hands down.

[01:09:24] But anyway, we digress.

[01:09:26] We definitely digress.

[01:09:28] I like the movie, Jason.

[01:09:29] I mean, I'm glad I watched it.

[01:09:31] I think I'd own it.

[01:09:32] I don't think I'd just sit down and watch it any time, but I just like the history around

[01:09:38] it.

[01:09:38] So I think it's a valid thing.

[01:09:41] Yeah.

[01:09:42] Yeah.

[01:09:42] That's where I'm at.

[01:09:43] I, I, like I said, I was really enjoying the first half and probably enough.

[01:09:47] I mean, as we know, well, as you, you already know is I bought snake, you know, snake girl

[01:09:52] in the silver haired witch.

[01:09:55] So it's like, I will be picking this up at some point.

[01:09:58] Well, I put it beside my two copies of my Z Ram and Z Ram too.

[01:10:02] Stack it to there.

[01:10:03] Yeah.

[01:10:03] Well, we will return, uh, back to normal programming cause I have a doozy next month.

[01:10:09] So no, we're already back in regular programming, Sam.

[01:10:13] We, this, this is the first one after.

[01:10:15] No, I'm talking about your shitty picks.

[01:10:17] Oh, I'm saying that we're going to return to good movies to talk about.

[01:10:22] Oh my God.

[01:10:23] So I have a really great one, uh, for next pick.

[01:10:26] So we'll redeem ourselves and we'll have a lot more.

[01:10:33] Anyway, thanks man.

[01:10:35] I appreciate you always.

[01:10:37] We watch these movies so you guys don't have to.

[01:10:40] And of course, anything but casino.

[01:10:47] At some point, these guys are going to find out about this and, uh,

[01:10:51] the lore behind this is quite large.

[01:10:54] No.

[01:10:54] Yeah.

[01:10:54] There you go.

[01:10:55] All right.

[01:10:56] Thank you.

[01:10:57] Therefore, whatever appears on the television screen emerges as raw experience for those who watch it.

[01:11:09] Therefore, television is reality and reality is less than television.

[01:11:16] That's a good one.

[01:11:17] Oh my God.