Brats We Grown Now

[00:00:02] What you want, when you want it, where you want it. This is The MESH. Footcandle Films Film news and reviews from two guys who really like movies. This episode is brought to you by the Footcandle Film Society. For a schedule of upcoming screenings and membership information

[00:00:26] visit the society's website at www.footcandle.org Hello everyone. Welcome to Footcandle Films here on The MESH.tv podcast network. My name is Alan Jackson. The name of the gentleman sitting across from me at the podcast table is Chris Fry.

[00:00:44] And we are with the Footcandle Film Society and the annual Footcandle Film Festival. And today we are hosting an episode of Footcandle Films podcast. Chris, how you doing? I'm doing well. This is actually our three hundred and first episode.

[00:00:59] Wait a minute. Last week was last time was our three hundredth episode and we did nothing to celebrate it. I blame the intern. Yep. True story. Really? Yeah. Yeah. Well, OK. A couple of things surprised me.

[00:01:11] One, that we missed our three hundredth episode and didn't make any any big to do about it. Right. It just blows on by. I don't remember what the review was. Was it even a film I liked or we liked? You liked better than Sasquatch Sunset.

[00:01:28] OK, Sasquatch Sunset was not our three hundredth episode. It was not. It would have been two ninety nine. That's three hundred. And I remember you liked it better. And now I'm struggling to remember what the last film was. The three hundredth episode, not terribly memorable, it appears.

[00:01:43] But oh, Hitman. Oh, OK. All right. That was the Richard Linklater film. OK. Three hundred. OK for that. But this is three or one. Yes. The second thing surprises me is we've been doing this for three hundred episodes. That's true. That's a little shocking to me right now.

[00:01:59] Yeah, yeah. Crazy. OK. Well, as Chris has alluded to, yes, we've been doing this podcast for a while. This is our film review and discussion podcast. Even though we host a film society and a film festival here in Western North Carolina,

[00:02:12] we like to get together every couple of weeks and talk about new movies that have been released or available for people to watch, give our reviews as well as talk about some some news in the movie world. That's what we'll be doing today.

[00:02:24] We have two films we're going to be reviewing, Chris. Well, first up will be the documentary Bratz, which is written and directed by Andrew McCarthy talking about the Brat Pack. That is a Hulu documentary that we'll be reviewing. Then we'll be reviewing the film We Grown Now,

[00:02:41] which is kind of out limited release and has been showing in some key markets across the country about two young boys growing up in public housing complex in 1992 Chicago. So we're going to be discussing those two films and reviewing them. Then we're going to move on.

[00:02:58] I only have one news item. Actually, it's a trailer we're going to play. OK, I'll get the T's for you in a little bit of a new film that's coming out that I think you might have some interest in. And then we will be I think that's it.

[00:03:11] That's all we're going to do. We're actually going to wrap up our show with the trailer. So yeah, two reviews. Been screening a lot of foot candle films for the festival. So no recommendation this week. Sorry, guys, slacking off and only having to watch our 300 submissions

[00:03:25] to our film festival to help us prepare for that and not watching fun, entertaining, lighter movies in your free time. So we will return with Chris's patent recommendations, maybe in the next month or two after he's done with all of his candle films, submissions, screenings.

[00:03:45] But we got enough to talk about enough to do here. We got two reviews and a new trailer to talk about. Let's get right into our first review, which is the documentary Bratz. If you were coming of age in the 1980s,

[00:04:00] the Brat Pack was near the center of your cultural awareness. But for those of us experiencing it from the inside, the Brat Pack was something very different. On June 10th, 1985, New York magazine published Hollywood's Brat Pack. I just remember seeing that cover and thinking, Oh,

[00:04:22] I'm going to be a Bratz, the documentary that is by writer director Andrew McCarthy, based on, I think, a kind of a memoir that he did about his time during the 80s being in all these different films. Why is it called Bratz?

[00:04:36] Well, as Alan alluded to, the Brat Pack. Alan, can you name the members of the Brat Pack? Well, as the film actually alludes to, there is some controversy as to the members of the Brat Pack. There is some complications there.

[00:04:50] I will say without a doubt, Emilio Estevez is a member, solid founding member of the Brat Pack. I think that's pretty well established all the way through. I think Demi Moore is a member of the Brat Pack. I feel like she represents that.

[00:05:04] I think Rob Lowe is a member of the Brat Pack. Beyond that, it's a little hazy. I mean, I think members Judd Nelson, I'll throw Judd Nelson in there. Those four, I feel like, yes, are bona fide chart, card holding members.

[00:05:17] The rest kind of float in and out, depending on your preferences. So you would not count Andrew McCarthy as being among the Brat Pack. That's interesting because this film is kind of based on, I mean, like I said, kind of referencing the book that apparently he read.

[00:05:33] There was a memoir, but him stating he's kind of the host and he goes around to different members or different people that had associations, whether they be directors of some of the films or producers or casting directors even and talks to them.

[00:05:48] He even at one point pulls in Malcolm Gladwell and has him talk about kind of the theory of pop culture, how things, you know, kind of snowball effects and the effects of the media and things like that. But he states pretty openly that the label Brat Pack,

[00:06:05] which came from an article that was written in New York magazine, which I don't believe he was directly focused on Emilio Estes as you mentioned, was kind of like a center piece even mentioned that article, except for one passing comment at the end. OK, so interesting.

[00:06:21] I've never read the article. Have you? I did this weekend. OK, excellent. So I'm going to I'm going to turn it over to you, Alan. And actually, when we were last week, when we were kind of planning this show, I was like, hey,

[00:06:32] what do you want to review? We're going to be screening the next film. We'll talk about we grown now at our foot cannot screen. I was like, we can talk about that. And he said, well, hey, there's this documentary about the Brat Pack.

[00:06:42] Really want to see, you know, as Bratz is coming out, it's going to be new on Hulu. And I was like, OK, yeah, I remember the Brat Pack. Sure, sure. So I'm going to toss it over to you. And give me give me some of your thoughts there.

[00:06:54] Yeah, so I did not like this for a couple of reasons. A lot of people a lot of people are hating on this film online because they're because it wasn't what they were wanting or expecting out of a documentary called Bratz about the Brat Pack.

[00:07:09] That's not my issue with it. OK. It is very different than what? Yes. When I cue it up on Hulu and say, let's play this. This is a very different documentary, very different subject matter than what I was anticipating.

[00:07:22] Didn't make that didn't make the film bad in itself. It is not a documentary about the Brat Pack as actors and performers. I mean, you don't really get a lot of. You don't get a lot of knowledge about who these actors are

[00:07:37] and the their how they came to fame and how they came to be part of this pack. You don't really get a lot of that. This is a hour and a half long therapy session for Mr. Andrew McCarthy to deal with his own

[00:07:53] inner demons and insecurities about this labeling of this group as the Brat Pack. So him going and visiting other other members that were affected or, like he said, casting directors and directors and other people to talk about it. My problem with this film is it's it's.

[00:08:11] It's boring and it's redundant, and it's basically it's really is just Andrew McCarthy talking to other people about an issue that is obviously very important. Andrew McCarthy doesn't seem to be as important to everybody else he talks to. And it's repetitive and that is basically him.

[00:08:30] Every interview is exactly the same. And it's just except for maybe a meal. The rest of us were basically he talks over him the entire time. Well, Amelia Estevez, I don't think had anything to say because I don't think Amelia Estevez was really that hung up

[00:08:43] on the issue to begin with. Right. So it just you know, I when I realized that this is where the documentary was going to go in the first few minutes, I'm like, oh, OK, this could be actually interesting. I'm actually kind of curious to see where they go.

[00:08:57] And that's like let's get somewhere with this. Why are we doing the same thing over and over again with every person we talk to? And again, Andrew McCarthy doing most of the talking and most of the issues. The film does have one moment where it starts.

[00:09:12] It does give me a little bit of something and it has to do with a final interview he has that I did think was kind of interesting. I think had not the final interview been there, I would have liked this film a lot less.

[00:09:27] I think you and I are basically on the same page. But I will say that last interview you'd have some interest to it just because it he kind of finally talks. We can say, oh, sure. He talks to the author of the article. Right.

[00:09:41] Which I didn't know was going to happen. I didn't either. And when it did, I'm like, oh, OK. Now this is finally doing something that might go somewhere. And that interview was a little more interesting because there was a bit of there was a little bit of confrontation.

[00:09:54] I mean, basically, Andrew McCarthy is very upset about the labeling of the prep. And the article was also somewhat demeaning of these these guys as actors saying that they weren't really that maybe implying that they weren't really that talented.

[00:10:08] And they were really kind of more coasting on their personality and their their image in the media. And so McCarthy is really bothered by this. And they actually did talk about that and asking if there was any regrets in writing the article the way he did.

[00:10:24] No, I mean, I thought it was a good comment. Sure. It was an interesting conversation. That was basically was the saving grace of this film. Man, if I really thought if this is just going to end with more and more interviews the same way,

[00:10:35] this is a piece of trash. I don't understand why we're doing this. So I did not like about the interview with Malcolm Gladwell. I mean, interesting. I don't really understand why. I mean, it was just kind of seemed like it was almost like, hey,

[00:10:46] we got a chance to get this big name. Yeah. Let's throw them in there to kind of raise the intellectual level of this film a little bit. It was fine, but it really didn't shed any light on any subject matter.

[00:10:57] It was like it was basically just repeating the same stuff I'd heard the previous hour. I was amused because he said he saw himself in Ducky. Yeah. OK. That was kind of funny, which, you know, I will reveal. I think it's on our website somewhere, but it mentions

[00:11:10] unlike my bio, which we probably need to update those at some point. I have bios on our website. I think it's not even somewhere. I think this is like we're hosts of this podcast. It says that I've never seen Pretty in Pink and I still haven't seen it.

[00:11:24] You haven't seen Pretty in Pink? No, I am aware of it. And I know some of the character names, but like, and I know they had to reshoot the like I have. But no, I've actually never sat down and watched it.

[00:11:36] I have seen it more than enough times to make up for your life. Because it is one of those films that my wife has maybe four or five films that she will have on if nothing else is on and it will be on all the time.

[00:11:50] And that is one of them. Well, it's interesting that you and I like I don't know what I thought this was going to be. And I think when you first mentioned it, maybe I wasn't aware that he was the director of it.

[00:12:03] Like I didn't know he hadn't kept up with Andy McCarthy. I knew he was. And I remember he was a member of the Brat back order. But yeah, I hadn't kept up with him. So I was kind of surprised he was directing this.

[00:12:14] And I think I think that maybe is a is a shortcoming. I mean, I don't know. I haven't seen other things he's directed. If he has directed anything else. He's directed a lot of TV episodes of some shows. OK, actually the show that the James Spader show,

[00:12:28] The Blacklist. Yeah, OK. He's direct. I think he was actually in some episodes acted in that show as well. But he directed quite a number of episodes there and some other shows. Yeah. And I feel I feel like.

[00:12:39] You know, I would probably be terrible at interviewing famous people. And but interviewing famous people about something I was so closely associated with. And I feel like that that was kind of the problem. If he could have been one of the interviews, fine.

[00:12:52] But have somebody kind of detached talking to this, you know, because it just didn't. I don't know. It just didn't work for me. And I felt like like I mentioned, I felt like he told me maybe Emilio Estes didn't have anything to say.

[00:13:04] So I guess McCarthy felt like he had to kind of compensate and drive the conversation. But that one and I think that was one of the first. Oh, it was. It was like the first. And that that like kind of put a bad, bad taste in my mouth.

[00:13:17] I was excited when it's like, oh, we're going to go visit the different actors. He's going to sit down and talk to him. I'm like, OK, this is cool. And then once we get to the Emilio Estevez interview, the first one,

[00:13:26] I'm like, OK, if they're all going to be like this, this is horrible. Like this just just not do anything at all. Well, and interesting. It's just not you know, I guess it's just not what I expected.

[00:13:37] Like you said, and that's not why I have trouble with it. I thought it was interesting. I'm glad it ended, like we said, with the interview with the writer of the article. But I was not expecting a therapy session for Andrew McCarthy.

[00:13:49] And that's pretty much what I felt like I was getting now. That said, I will say, you know, it does seem like it really bothered him a lot. It seems like it still does. And so it was kind of, you know, it was irritating for me to watch,

[00:14:03] but also kind of sad. Well, because I felt like, you know, it was more sad than anything. Right. And I feel like the people that I really enjoyed seeing Ali Shidi again. And I wish I could be friends with her. She seems like she's really cool.

[00:14:17] Seeing Demi Moore, who I've kind of, you know, haven't really seen in a while, although she's in a new movie. I can't wait to see that was that can the substance. Yeah. But I think you talked about it. I did bring it up on the news segment.

[00:14:29] But almost in Rob Lowe, who I know has kind of had kind of a Renaissance. He's kind of changed his persona. He's a dad. I think he has a is it a podcast or something that he does with his son?

[00:14:43] Or there's something that he does in the summer. His son, like pranks him all the time or does. But like he's kind of morphed his persona over the years and stuff. And I just really I did enjoy the interviews where they kind of

[00:14:58] talked about they were they seemingly were very honest and kind of. And I felt here again, felt a little bit bad for Andy McCarthy because it was kind of like they were saying, yeah, it was what it was, but it's what you make of yourself. Yes.

[00:15:09] Through that, and I was like, that was a thing. And it was I felt like Demi Moore said that Rob Lowe said that. Ali Shidi was like, you know, when I think back on those times, yeah, there was some stuff that was rough,

[00:15:19] but I think back on the positive stuff and how that, you know, so it's just like, yeah, I think if the film had been framed as look, this is this is Andrew McCarthy dealing with his own. Issues and concerns and insecurities about the labeling

[00:15:36] and kind of taking it from that position. And we know that that's the framework that all the interviews are supposed to be on. It'd be a different film, and it might have been a little better film. It could have been a more personal focused on him.

[00:15:48] But the idea that we're trying to make a film or he's trying to make a film that is going to get all these other people's opinions about how this label affected them and all. And it's almost like you just feel like he's wanting them so bad to say,

[00:16:02] yes, it really upset me, too, just like it did you, Andrew. And I feel exactly the same way you do. It's like almost like he's trying to pull that from everybody and not everybody. Nobody else is there.

[00:16:12] So it's like it did come across as kind of sad at the end by the by the end. And I did. I don't feel like this helped his image person. I know my wife and are watching it. And she's like, yeah, I definitely have a lower opinion

[00:16:26] of Andrew McCarthy after watching this because it just seems so self-serving, self-serving in. I mean, I hate saying the word pathetic, but I mean, it did kind of come across that way at times.

[00:16:35] So it just it was a it was kind of a misfire of a project, I feel like. And then I'm going to throw into from a technical standpoint. OK, yeah, I was going to bring something up.

[00:16:47] You know, I I know there's always a desire when you make a documentary. Sometimes it's just try to how can you make it look or feel differently and how much of it is very nice and polished and how much of it is more

[00:17:01] handheld and kind of seen behind the scenes and kind of all that. In this movie, he tried to do it all. It's like, yeah, we're going to actually you're going to see the camera people all like walking around as they're filming and all that. I'm like, why?

[00:17:15] Like it doesn't make any sense if you were filming something very kind of that you're trying to catch in the act or you're trying to trying to document something that was really hard to document.

[00:17:26] That that makes a little more sense to actually see the camera crew and all. This is a sit down interview with freaking Rob Lowe. We do not need to see that there are cameras around. We know there are camera people around there.

[00:17:36] Right. It just seemed it almost seemed like this. We're going to make this a more raw documentary. And it just kind of it just seemed a little self-serving. What bothered me was, yeah, it was like you couldn't. He wasn't able to pick a lane

[00:17:52] because you have the thing where it's like some of the more polished stuff shooting where he's shooting with like Rob Lowe and you see camera people wandering or the director of Pretty in Pink. I think you see directors or camera people wandering. The Timothy Hutton interview.

[00:18:07] Yes, just out on this farm. OK, but then you go to I mentioned I kind of namechecked Ali Shidi's interview and it's him apparently shooting it on iPhones. And there weren't camera and he was like, oh, he goes over and adjusts an iPhone so he has.

[00:18:21] And actually the funny thing was me as somebody who shoots video for a living, he then gave himself too much headroom, which I thought was funny. I thought the framing was actually bad for both of them. And oh, even it was better when he before he fixed it.

[00:18:33] No, I'll tell you one more made it worse. One more thing that I was like. But here's the thing. Maybe that was kind of like a test. And he went and shot that and then he was like, this is what I'm going to do.

[00:18:42] And they're like, OK, and then maybe he got money and went and didn't go back and didn't go back into Ali Shidi's interview. I'll go and add one more, even very specific technical point. They're both lavalier mic'd. It's not recording the lavalier mics.

[00:18:56] I mean, it is the sound from the iPhone audio. It is bad. Bad. And it's like, could you not go back and redo the Ali Shidi interview? Because obviously, if that was your first one and I kind of get it, maybe it was proof of concept type thing.

[00:19:10] But go back and do it again, because it it was nothing like the rest of them. Right. Didn't look as good. Didn't sound good at all. It's like, oh, just, you know, if the subject matter

[00:19:22] of the of the documentary worked for me, I would I would give it a pass on all the technical stuff. I'm sure that's fine. Whatever. I don't care about that. But the fact is, it didn't work from a content standpoint.

[00:19:32] And technically, there were some issues with it or choices made that I didn't approve. I didn't think were necessary. So overall, I thought it was just a big misfire. I, you know, I guess I'm going to pile on.

[00:19:43] But there were two other things that I was going to mention about it. I did not. Find the sense of them trying to say, like, OK, how am I going to make this documentary different? I thought you were going to bring up how

[00:19:58] at first, you know, they have the interviews. And then, of course, they have the the footage from the different films, which you expect to see in a school to see. But then they had this what I thought at first was archival

[00:20:10] footage of like various shots of California or New York City back in the 80s or whatever. And I think some of it was. But then some of it was also like footage that was shot present day of like McCarthy driving to these different places or whatever.

[00:20:25] And it was done in this like high eight type stuff. And it's like, OK, but I don't get it unless that's a big feature in Pretty in Pink, which is a movie I haven't seen. So I didn't know if he was trying to like somehow recall

[00:20:37] a style of a John Hughes film that I had trying to. But I just don't think it was successfully done. That camera shooting to look like VHS or older older footage, I think was present in all the interviews.

[00:20:51] I think it was one point I saw it kind of. I saw some guy moving and I was like, oh, there it is. Like, OK, well, there again, pick, pick a style, pick a lane, pick where you're going to go with this.

[00:21:01] And then on the same notion of that, Chris, not only the filming style and film stock use, but I look, you know, Andrew McCarthy driving around and getting lost at times and having to like turn around because he missed addresses. I'm like, show that once.

[00:21:17] Yeah, it's really happening every single time. I don't understand how this is adding to anything that we're doing here. And or or or if anything, as the film goes on and I'm realizing that all these interviews are sounding exactly the same

[00:21:31] and it's all just adding length, the car, you're adding length and you're kind of adding frustration to me. It's like, all right, look, I get it, Andrew. You you've got a purpose. You've got an agenda with this film. You've got things you want to say.

[00:21:44] You hope and other people are going to say the same things you say. And you want to show that you're like on the street, you know, going around trying to find these people or whatever. The whole thing with Judd Nelson, which was like, OK.

[00:21:56] So that was going to be my other frustration that I was going to mention you revealed one of the names. I won't mention the other one because, you know, people suspense. If you want to have a little suspense to keep you interested in the film.

[00:22:07] There were two interviews that were, you know, the Brat Pack people and he went and sought out different people. There were two that were kind of mentioned that didn't come to fruition. I won't tell you who one is. I'll let you rest in suspense.

[00:22:21] But the other one, I'm glad you actually mentioned because that helps kind of drive home a final point I had. They tease it really awfully and just terribly like my just I groaned, I rolled my eyes at the very end how they kind of ended it

[00:22:38] like the last shot, the Judd Nelson kind of like teaser. And I was just like, seriously? That kind of that was the nail in the coffin for me. No, it was for me as well. I was so annoyed by that.

[00:22:51] So it was just which is really was just a real a real disappointment, a real misfire. I think there's a good documentary that needs to be made about the Brat Pack because I'm actually kind of more curious to know a little bit more

[00:23:06] about the dynamics of this group of young actors and kind of their history and relationships to one another during this time. But this was not the film to do it. It had moments where it was interesting moments.

[00:23:19] And those moments were all when the actors were able to talk about their own experiences and maybe relationships they did have with one another. And some moments like, oh, hey, do you remember when we had the

[00:23:32] the premiere of the one film and you kind of saw some footage of that premiere and you can tell actors are a little uncomfortable or not. You know, some things are going on behind the scenes. I'm like, OK, this is good.

[00:23:43] And that's like that was like five percent of the film. And I think maybe that. And I think not having McCarthy as the host of the main interviewer would have helped that because the interviewer is one step removed.

[00:23:54] And they're going to be like, OK, what can I do to make these things different? I'll ask these different questions, these different experiences. But he was all about, OK, the experience you had. What do we have in common? What do we have in common?

[00:24:05] Not what were some differences? And so that that I will say. If you grew up or you've watched all like, you know, Breakfast Club, St. Elvis, Pretty and Pink, you know, all the films and you 16 Candles and you and you like those films.

[00:24:22] This is, you know, it's on Hulu. If you already have a subscription, it's it's an there are some you'll probably be OK with it, but you could probably like fold a load of laundry while you're doing it. It's not like it's going to completely keep you enwrapped

[00:24:34] and you want to keep on every it is more background entertainment than what I was hoping. But it's not I mean, I'm not going to say it's just completely worthless. I mean, it's I'm pretty close to saying wow.

[00:24:44] Well, it's just I think what you do is if you were a fan of these these actors and you're kind of a fan of the time period and you grew up same age we are, you watch it. Once Andrew McCarthy goes to visit an actor,

[00:24:58] check it out, like watch for a few minutes and you get to see, OK, that's what the actor looks like now. OK, cool. This is how they was what they're saying. And then just skip, skip, skip, skip, skip, skip to the next actor that gets introduced, because again,

[00:25:10] you're not going to get anything new out of this situation. Right. And you're completely. Yeah. If there was a way like, I guess, that just like this was on DVD and you could skip chapters and just go to the interviews because all the stuff in between is filled.

[00:25:24] Well, and even the interviews, you only need to listen to the first minute or so. And it's like then it just becomes repetitive. And Andrew McCarthy saying the same thing, trying to get the other person say the same thing.

[00:25:34] And then a lot of times the other person has to kind of be a counselor, therapist back to Andrew McCarthy. It's the same thing. And it's just, you know, it just I mean, it just didn't work. Something I thought was kind of cool in a way.

[00:25:48] I remember seeing Young Guns and being kind of I was really into that maybe actually. So I guess I really liked Emilio Estevez, but I haven't seen him in kind of a while. And it was interesting because, of course, everybody ages.

[00:26:01] Andrew McCarthy, when they first saw him, I'm like, OK, this is what Andrew McCarthy looks like nowadays. And when he went to meet Emilio Estevez for the first time, I was like, you could have told me that was Martin Chien. And I would have believed it.

[00:26:13] But of course, it's because it's his son. So, duh. You know, but it was like, I was just like, whoa, wow. He's really becoming his dad. Like, that's fat. I mean, yeah, everybody looks like their parents to some degree. But I was like, oh, wow.

[00:26:24] Like he could play his dad like, I mean, I guess it was just it was amazing. It was almost a little shocking. Yeah. A little shocking to see him now and see how close he is. Close he is to his dad.

[00:26:33] So, yeah, Brett, if you're a Brat Pack fan or devotee, I think it's probably, you know, you can check it out. But yeah, I'm not going to highly recommend it or anything. No, I just thought it was I thought it was more

[00:26:49] that it was more sad and and I definitely was not expecting something sad. I'll come off and say that and pointless to me to a degree. And it's a real shame. But it's been getting a lot of attention online.

[00:27:01] People have been talking about it, which makes me think there is a lot of interest in people wanting to learn about this group of actors in this period of time and film. But this is not the film to give it to them.

[00:27:13] So hopefully maybe somebody will take up the idea and say, OK, let's do a real Brat Pack documentary and let's really learn about this whole thing. And whether or not Andrew McCarthy will be involved, I do not know. I think the shame of it for me is

[00:27:32] I it was worthwhile for me because I learned some things that I didn't know. For instance, I remember them being called the Brat Pack, but because I was too young or whatever and I definitely didn't live in New York.

[00:27:43] So I didn't know it was based off an article. I didn't know that. So there was enough there that I kind of learned. But I feel like it was this has was such a swing and a miss opportunity, because, like you say, I think there's a story there.

[00:27:55] But the sad thing is now like to try to tell it in an interesting way. I feel like it's going to basically be like, you know, this came out first in a way. So I feel like I don't know if you can make something interesting

[00:28:05] after all this stuff has already been called over. So I think it's just a it's sad because it's a missed opportunity. All right. Well, that is Bratz. That is on Hulu. I'm not recommending it, although I think Chris was right in saying there's

[00:28:21] there's a look, it is free if you have Hulu. And if you are a fan of these films, there's a few moments in here you might appreciate and a couple of things you might learn in here. But overall, I felt like this was a

[00:28:35] poorly executed experiment that Mr. McCarthy had for a film idea. So all right. That is Bratz. Let's go ahead and flip on over to our second review there, Chris. And it is the film We Grown Now. In Cabrini Green, it don't matter how old you are,

[00:28:55] how much money you got, how big or tall or small. What do you call three trees? What a trio. You ever think about what it would be like outside of here? Well, this is where we from such a big road out there. So much I want to do.

[00:29:14] You never do it. So you might do it. You can do it. Put my mind at some McDonald's right now and I'll see it on my plate. We Grown Now by writer director Menhal Bayag is about two young boys named Malik and Eric,

[00:29:30] who are discovering the joys and hardships of growing up in this sprawling Cabrini Green public housing complex in 1992 Chicago. That is the IMDb. Pithy summary of this of the film. Well, we have here is a film that

[00:29:47] is one of those where you could almost say it's a slice of life film. It's made in a pseudo documentary style where you kind of kind of get the feel that maybe you're watching some real family and people going through, although this is a dramatic

[00:30:00] film with actors involved, but telling the story of these two young boys as they're growing up in this public housing complex. We're seeing them over a specific period of time. I think it's maybe if I had to guess, maybe a month or so of time, possibly

[00:30:17] Chris, a film like this, you know, from a director that we're not familiar with, a writer director that has made a couple of films before, but this is the only one I think that's gotten some theatrical run. It has been showing in some limited markets.

[00:30:30] Sure. Love to hear your thoughts on how you felt like this worked as a film. I'd love to also hear your thoughts on the two actors. The two lead actors are young actors because I'm always curious

[00:30:41] to see how young actors perform in a film, especially when they're given a wide range of things they have to kind of convey and share in a single film going from comedy, not comedy, but lighter moments to drama, to like emotion.

[00:30:56] I always curious to see how young actors perform. So I would like to hear your thoughts on We Grow Now and even the two actors in particular, your thoughts on how they did. So when we chose this film for our foot candle screening,

[00:31:09] I'd heard a little bit of buzz about it. I'd seen it played at some art house theaters that we kind of look at their schedule and say, OK, you know, they're bringing this. Must be pretty good.

[00:31:17] I was not aware until we you actually put out the release for the film, you know, to let people know about the screen that it was not a documentary. You kind of mentioned that that it was actually a narrative film

[00:31:28] that was acted. So I was like, OK, so that kind of gives you a hint on how little I knew about this film before I sat down to watch it. I did finally end up knowing, OK, it's a narrative.

[00:31:39] But I don't know if it was just because my expectations were really low or, you know, at the base of it, you're like, oh, it's a coming of age story about two friends that are, you know, struggling in this, you know, poor neighborhood like, OK.

[00:31:56] So we've seen tons of these type films before. But I really liked this film. And I was kind of surprised at how much I did like it. And I think I can trace it back to you mentioned the year that it was depicting 1992 Chicago.

[00:32:13] I remember back in 1992, a certain film came out called Candyman. Which took place in Cabrini Green. It was all about how that neighborhood had become crime ridden. And the backdrop was also that there was this, you know, killer going around killing people, but it very negatively.

[00:32:32] Affected a lot of people and a lot of people really disliked it, such that in twenty, twenty two, maybe they had a director came out and kind of remade it and kind of repositioned some things. And so that was really interesting.

[00:32:46] So it comes back to my perception of Cabrini Green and of that era in Chicago. And I think that's what I really appreciated about this film was that it's not that director Minhal Beg like shied away from the fact that,

[00:33:02] no, there's rough stuff going on in this neighborhood. There's police, you know, interactions with police where things seem to not be on the up and up and things are unfair. And people are being, you know, it's like, no, it and drugs and shootings. No, it referenced that.

[00:33:18] But it didn't rub your nose in it. And because it was PG, I think they and because it was told from the perspective of these two young boys, it was I felt like it was experiential and informational, but it didn't just drag you down. Well, I appreciate it.

[00:33:35] I think the fact is it's like. I guarantee you a vast majority of people that lived in the public housing complexes were like what we saw in these just film people trying to get by. Just people just trying to get by, trying to make better their life,

[00:33:52] trying to take care of their family, caring for their family. Unfortunately, Hollywood and the media show us the single stream percentage of the people that are, you know, the crime, the drugs, the things. And that's what everybody starts to associate with this.

[00:34:08] I like this film a lot because it's willing to say, no, look, here are two families and they're both really good families. The character, the people are good. They're wanting the best for things. Yes, those things are happening on the outside, the peripheral,

[00:34:22] and they are affected by what's happening outside of them. But it doesn't define who they are. I mean, they are still people with dreams and goals and looking and friendships and caring and love. And it's just it was refreshing to see. It was very refreshing. I agree.

[00:34:38] So I equally like this film. I think it was really good. I hate saying it's simple because simple makes it sound like it's a lesser film. It's not. It's a simple film. If you're following two kids and, you know, you see.

[00:34:53] I mean, we've seen films like this before where you're following the children and they're going through the stage of their life, but the setting, the environment and the family members surrounding them is what makes us a little bit more unique.

[00:35:05] I think so. I think it's it is simple, but it's deceptively so because it's actually covering a lot. It's covering the history of the area. It's covering, you know, subjects of racism and, you know, interactions with police and drugs and shootings.

[00:35:20] But it's also showing these boys trying to grow up and what happens when you try to make a better life for yourself. And you have to move and all, you know, so simple, but yet deceptively so because it touches on a lot of different things.

[00:35:34] I want to go back to something you kind of we haven't you mentioned, but we haven't touched on the two young actors. Yes. Yeah, they were great. And I guess when I figured they were, you know, two really new actors,

[00:35:49] I was like, OK, for this film to be getting as much talked about, they must be good. And so I was expecting them to be kind of good. And they were they were really good. But what I didn't expect was the mom and grandmother

[00:36:01] who were in the film. I was like, Whoa, they are really knockout, really. And then little Ray Howrey, who was in the film, who I don't think I knew. But then I saw, I guess his name across like, Oh, he's going to be.

[00:36:13] And of course, he was great as well. So he had a speech like I feel like, OK, he's going to have kind of a speech and it's going to be good. And of course, it was. But not but not overly so.

[00:36:23] And that's the thing. It's like, yes, you can see the speeches from the mom or the grandmother. Little Ray, you could see we're like, OK, these are like the Oscar. It's like, no, they weren't heavy handed. They just seem to be real. Yeah, they seem very authentic.

[00:36:39] Yeah. I thought all the acting was great. Top to bottom. So but the young actors, I do want to single out just because they carry the film. It's on their shoulders and they pull it off. I felt they were natural. I felt like they were kids.

[00:36:54] They're age appropriate. They were responding things like you would expect kids their age to do. And they're both they were both given a pretty heavier, dramatic scenes towards the end of the film. They had to pull off.

[00:37:06] And I was kind of waiting to see what was this going to like work out? Was this going to where they can be able to pull this off? And I thought it was extremely successful. It was a no, that was really good.

[00:37:17] And you know, another thing, you're right. Deceptively simple is a good way to describe it. The other element of the film that I thought was interesting to see and it just puts in some good reference. I mean. The challenge we see two families

[00:37:34] that are similar and that they they both have are a single parent family for different reasons, right? And one of them has an extended family member living with them. The other one is just the father and two children.

[00:37:48] And you see that they all kind of want the same thing and all, but you also start to understand from this film very subtly how there are the forces that are keeping going to keep one family

[00:38:00] kind of locked in place where it is and doesn't really have a whole lot of chance to move upward as much. The other one really has to kind of push through to try to find that opportunity to move forward.

[00:38:11] And it's just you start to apply that to everybody in these situations and this in this environment, in this community. And you start to realize, OK, yeah, there are a lot of things happening that were causing people that had the best intentions

[00:38:25] and the best dreams and desires to not be able to move forward. And it's like this film does a nice job of just very simply kind of laying it out, say, OK, that's the situation. Like, for example, the mother of the one family, the one kid

[00:38:39] going to take a get an interview to try to get a job. And it's like, oh, yeah, you'd be perfect for this job. But you got to move to here. And she was like, oh, wait, what?

[00:38:48] And you need to have a car and you don't have a car. It's like, oh, my gosh. You know, to even get this job that would like totally put her in a whole nother stage of her life. There's all these challenges are being thrown in.

[00:39:00] So again, we start to it gives you a better understanding of this was what was happening widespread with this community. Yeah, it wasn't it wasn't just the challenge wasn't just getting the interview. Oh, no, that was just the first thing, because even if she got the job,

[00:39:14] it's like, OK, now you've got to do all these other changes. Let me let me call out both the mom and the grandmother, the two actresses names, Tyler Abercrombie and then Hector Agba. I think I'm saying those names right.

[00:39:25] But I wanted to you know, I was just referencing as the mom and grandmother. So I wanted to be sure to be sure to call. And I'm sorry, our intern is off duty or otherwise they would be here to correct you. Oh, OK.

[00:39:37] The mother is actually Jurnay Smollett. Oh, OK. Yes. OK. Right. OK. Plays Dolores, the mother. I think the grandmother is played by and I'm trying to look and see if I could see her in the cast list here.

[00:39:49] I just want to make sure we're given proper credit. Right. Yeah, and apparently she had been in. Smollett had been in some other stuff because I didn't like it. She looked kind of familiar, but then but then somebody

[00:40:01] and I can't remember if she's in the she was in the HBO show Lovecraft Country with OK, I think that's what people were pointing out. Something else you did as well. OK. But no, she's very, very good. And I apologize. I'm not sure.

[00:40:13] So she was she was the mother. She was Malik's mother. OK, the one that was interviewing for the job. Right. Right. Right. Right. Right. That was a journey journey Smollett. And I don't know if a path of Mercasen.

[00:40:29] And so neither either one of the names that I called out was the grandmother then. I don't believe so. IMDB is letting us down. Yeah, IMDB, I think was listing the cast by maybe appearance and not necessarily. There we go.

[00:40:43] Their status in the film, like their lead roles. Yeah, IMDB do better. Well, we can we can definitely. And then I think we mentioned the two boys, Malik and Eric. We should we should give them credit. Blake Cameron James played Malik.

[00:40:59] And then we had a John Knight Ramirez as Eric. And both of those kids very, very good. So yeah, I think Malik, you know, he's just one of those as a little kid. You know, Blake Cameron James has that like the smile.

[00:41:16] And it's just like, wow, that kid should be in like every commercial. Yeah, very good. And Malik, what's awesome about Eric, Jean Knight Ramirez, what's awesome about him is he kind of plays off and is this doesn't show a lot of emotion.

[00:41:29] But you can tell he's struggling with a lot. You know, so he like even though he doesn't do a lot with his face, you can just tell there's like there's turmoil there. And man, at the end, when there's like this one tear, you're like, OK.

[00:41:43] You know, and it's a great I know they can cut away and spray stuff and kids are, you know, anybody's eyes to cry or whatever. He's trying to pull it off. I was like, man, that kid like he he sold it.

[00:41:53] That was like, you know, he needed to nail that emotion moment. And he totally, totally did. So I agree. It was it was good. Now, it was overall good performances. Good premise to a film. It did mix in some. More imaginary, imaginary, magical moments.

[00:42:14] Absolutely. I was worried was going to either get too heavy handed or too much of that, and I thought the balance was just right. It's just those are coming from Malik's viewpoint. And because Malik, I think we were tuned in a little bit more with him

[00:42:28] as to what his dreams or what he wants out of life. We don't really know Eric as much. True. We know Malik and Malik is the one who sees these has these imaginary dreamlike moments. And I think they were just subtle enough.

[00:42:43] They weren't over a beach over the head with it. It added something to the film. I appreciate it. So, you know, here I'm all here. I kind of we piled on some of the negatives on the first review of Bratz.

[00:42:54] So I'm just I'm going to do the opposite here. I'm going to pile on some of the positive. You mentioned some of the fantastical aspects. You know, this and just the cinematography, the way they shot a lot of them is just gorgeous.

[00:43:06] But I'm going to give you a couple, you know, whenever you can say about a film, OK, here are some moments that really stuck out to me. What have them has to do with kind of what you're talking about?

[00:43:14] Some of the fantasticalness of Malik has this kind of recurring dream about being at a train station and leaving. And at one point, they showed the sequence in his bedroom where they use, you know, if you're in a big city

[00:43:29] and you have a lot of cars going by your window, you see like their lights panning across the walls. Well, they took that aspect and turned it into kind of like if you were in a train station or a subway station with the cars

[00:43:41] going by and the way lights pass and like you hear. And so they they use that kind of aspect to kind of give you that whole field. I thought that was really effective. Sound design also in this film is amazing, especially the use of a faucet

[00:43:54] dripping, which is which is kind of plays a big key. So that's something else really subtle that I was amazed I picked up on because I've only seen this film one time. There's a conversation the two boys have at a funeral home after they'd been to a funeral.

[00:44:12] Malik and Eric are sitting on the steps and they're kind of having this back and forth about what do you think happens when you die? OK, so there and in the foreground, they're in the background, you're sitting on the steps.

[00:44:23] You see people walking past and they're like in different hallways and you see some mirrors. And at one point, I think it's yeah, Eric's the one who says like, I just think people just go away. You're just gone.

[00:44:35] And the way the mirrors are set up, you see people walking. But then like the mirrors reflect, I guess, different hallways. So you see somebody walking and then they get to the intersection of mirrors and they disappear.

[00:44:45] So there's like some there's some really cool like and it's very subtle. But I feel like it was deliberately framed. And some of the things they're talking about, people just disappearing or being gone and like what happens. Like I feel like that was very intentional, very subtle.

[00:44:59] But that's the kind of thing you're like, OK, this director there and the cinematographer working together, this is this is some good stuff happening here. No, it was a beautiful shot movie. And there were some really interesting camera actions and movements that I think added to it.

[00:45:14] There was a moment where there's kids are standing up on their head, kind of standing up against the wall. Yeah, the camera's kind of falling. You get little touches that they don't beat you over the head with it.

[00:45:25] It's not like they're trying to show off any camera moves or whatever, just enough to kind of bring you into that world a little bit more and kind of give you some of the same perspective the kids have at times. But also accentuating the things they're talking about.

[00:45:37] I thought it was great. So I'm I I I like this movie quite a bit. Thought it worked really well. I think it did exactly what it needed to do. And I think it did it in a nice. I mean, I'll say it a nice running time. Sure.

[00:45:53] We are getting known as the podcast, Chris, where we talk about duration of film. But I mean, I think it's important because if this had been a two hour film stretched out, it would have lost something for me.

[00:46:03] But I think the way it worked and it didn't waste a lot of time. The moments were all important. The scenes were all important. I think the dialogue was all important. So, yeah, it just it just worked. And it ended at the time it needed to end.

[00:46:17] And it had a really nice ending to it. A bittersweet ending, but a good ending. Yeah. So I thought this film really worked really well. Yeah. I'm glad we can have something that we can celebrate because we kind of knock something down with the first bit

[00:46:31] that we can kind of end on a positive note with with this one. And I also one of the things we like or I like doing about the podcast, I think you feel the same way is kind of trying to let people know about movies.

[00:46:42] They might this, you know, we're recommending this, even though this we said we didn't have a recommendation for this episode. But, you know, with the reviews, we kind of do say whether or not we think it's worthwhile. And this one, I hope more people see it.

[00:46:54] I think right now it's still kind of in a theatrical run. I don't know if you can actually stream it yet, but that might be the way some some have to enjoy it.

[00:47:03] But I, you know, when I put it on your radar and keep a lookout for it, because I think I hope more people see it because I think it's a really it's a really great film. And like I said, I think what's also, you know, it's PG.

[00:47:17] You know, and I think it's really great that there's a film that covers all this, even though, like we said, deceptively simple. But it's it's PG. You know, I think that's that's kind of a rare thing these days. So interesting enough, I mean, the the director, yes,

[00:47:35] Mithal Bagg also wrote and directed a film, Hala, that was on Apple TV Plus, which I'd heard of. But I never, never seen same here. But I'm kind of more intrigued to go see it. Sure. Yeah. And check that out.

[00:47:46] Also, she's been a writer for a lot of some TV shows, comedy shows, which is really BoJack Horseman and Rami, the TV show. She wrote some episodes for those, which I thought was interesting as well. Yeah. Yeah. So she's a Pakistani-American filmmaker.

[00:48:05] And so I'm really kind of curious to go back and see Hala now and see her work on that film. From the very small amount, which there again, couldn't even get the actress's names right for this one. But thank you, intern.

[00:48:17] But I think Hala is supposed to be somewhat very loosely, but a little bit biographical about some of the experiences she had growing up. So, yeah, it seems so. I guess, yeah, should check that out. So maybe that is a recommendation, although we haven't seen it.

[00:48:33] Check it out and see. But that would be one to check out if nothing else. I'm now also we also like to find directors that we want to kind of follow and see what they do next.

[00:48:41] I'm very curious to see what she works on next now as well. So that is the film we grown now. Chris and I are both recommending pretty strongly, saying it is a great film to check out and well-made film looks great.

[00:48:56] Acted well and just yeah, it's just it works. So that is we grow now. It is playing in theaters. I don't know any kind of distribution schedule for online rental or streaming, but stay tuned for that. But if you are in a city where it is playing,

[00:49:13] we'd recommend going to check it out. So it's worth your time. All right, Chris, let's take a quick break. And when we come back, we're just going to do I just have one trailer unless I can scramble up some news

[00:49:24] within the one minute break that we have here. Sure. But I do have a trailer of a film that's coming out or has released a new trailer that I I know you're going to be excited for.

[00:49:36] I'm I'm looking forward to it now, so we'll we'll talk about it here in a few minutes. You're listening to foot candle films here on the mesh TV, and we'll be right back. Welcome back to foot candle films here on the mesh TV podcast network.

[00:49:51] So Chris and I did our reviews of the film Bratz and the film we grown now. Unfortunately, one negative, one positive. So we balance out the scales pretty well at the end of the day, I think.

[00:50:05] But Chris, we do like to take some time to talk about some news or upcoming films or projects that we're hearing about that sound interesting or look interesting. So I do have a trailer to share for us. I don't know if you've seen it or not.

[00:50:19] You haven't mentioned it, so I'm assuming maybe you haven't. And I think this just came out on Wednesday, so relatively fresh. OK, I was going to say, you know, sometimes on our show, Chris, we well, a lot of times on our show, we're talking about films and

[00:50:35] content that maybe skews more adult, you know, grown up content in our films. I do feel like we probably give a little shorter shift to kids related films, kids films. You and I are not kids. We're not reviewing. We don't have young kids at home anymore.

[00:50:54] So we kind of don't get to see as many of the aimed at younger audiences films. So I want to make sure we give some attention to those. OK, but this is one this is part of a series that I know you are a fan of,

[00:51:07] especially the second one of this series. And they're now releasing a third film. This is the Paddington, the Bear series of films. Were you aware that there's a third one coming out? Maybe kind of. I thought that they were thinking about it.

[00:51:24] But then the director, I can't remember his name right now. David something maybe. He went in after Paddington, too. He went and made something else. And I remember people were like, oh, you know, we wanted. Oh, he did Wanka, right?

[00:51:36] Oh, I think. OK, yes, I think that's right. And so I think a lot of people are like, no, don't go do that. Do you pay? So, yes, you're right. I the first one was OK. I really liked the second one.

[00:51:47] Hugh Grant being the bad guy in that one was a major reason why. So I definitely have not seen the trailer. So well, this one not directed by Paul King, who was the director. The first two, unfortunately, because of the scheduling conflicts.

[00:52:02] This one is Dugal Wilson joins as director. I'm not really familiar with him, but we do have the return of Ben Wishall as Paddington. We have Jim Broadbent in the film. Melda Stanton is in the film. We also have Olivia Coleman is joining the cast this time.

[00:52:22] Antonio Banderas, Emily Mortimer, Emily Mortimer, actually replacing Sally Hawkins as Mary Brown, which is kind of interesting as well. So a little bit of replacement, but we do have some new actors in the mix. Olivia Coleman, always happy to see when Olivia Coleman joins on a project.

[00:52:38] That's interesting. Antonio Banderas. He's he's been in some interesting different roles in the last several years. So I'm all for him joining up as well. So why don't we watch the the trailer for Paddington in Peru, which is Paddington Goes International.

[00:52:55] He's from Peru originally, so this is where he's going to go. Let's watch the trailer for Paddington in Peru. Thank you for using photo me. Thank you for having me. Please note that headwear is not permitted. Make sure your face is within the red circle. Red circle. Right.

[00:53:30] Commencing photos in three, two, one. All right. So that is the trailer for Paddington in Peru. Chris, you're looking forward to this? Yeah, I mean, it looks fun. It looks like it maintains the tone of the second one. It's hopefully they didn't, you know, with any trailer.

[00:53:54] You hope they didn't spoil like the funnier moments of the film. Hope Sally Hawkins is OK since she didn't return to the film. Hopefully it was just scheduling conflicts. That does make me a little sad.

[00:54:05] I like it when they can have the same people play play the roles. I will say something. I'm a little sad, too, that, you know, I guess it was scheduling conflicts with Wonka, but a little sad that the director didn't return.

[00:54:18] That said, something that this one seems to key off of, which I don't think happened in the first two. It seems to be playing with some Hollywood movies kind of winking things. There's the sound of music kind of Olivia Colman

[00:54:34] seems to be doing the sound of music riff, which is funny. She's you know, and I think talk about I'm glad Olivia Colman gets a chance to be funny. It seems like she's just being funny and having a blast. So there's a sound of music riff.

[00:54:47] There's a little bit of an African queen riff with Tonya Banderas seems to be doing that a little bit. So that's also cool. And then there was a little bit, maybe a tinge of Rares of Lost are kind of like adventure. So, yeah, it looks fun.

[00:55:01] So I will say so, Paul King, even though he's not directing this film, he did develop the story for it. So there's some involvement. It's not, you know, gotcha. Not completely new crew taking over the series here. Sure. So, yeah, I think this looks a lot of fun.

[00:55:16] So I hope it is. I hope it is a lot of fun. The trailer says coming out in November, but what I'm reading in the article says it may be more like January. So we're still a few months away. January 17th. Oh, it's in the UK, November 8th.

[00:55:32] And the U.S. is January 17th. So here in the United States, we have a couple extra months to wait to see Paddington until after the holiday season. So all right. Well, that is Paddington in Peru coming in January. Yeah, I thought that'd be fun to show.

[00:55:48] Yeah, definitely. You know, outside of the box, what we normally talk about. So that's also Chris. All right. I'm going to throw a curveball here just because I feel like we got a couple extra minutes. I don't. I don't. Hmm.

[00:56:02] Still trying to struggle with how to how to address this. So it's not a recommendation. How much do I care about the fact that Blade has lost another director and they're still trying to figure out what to do with that film?

[00:56:14] Maharshali is still going to be Blade, I think. But then, yes, they don't know what's going to happen with the rest of it. No, that's not what you want to know. So let me just ask you, this is a little

[00:56:23] this is normally stuff we talk about off camera. But OK, well, we're here. Let's do this. Have you seen the film Argo yet? I have not. I have not. You have. My wife has seen the film and she she wants me to see it

[00:56:40] because apparently there's one scene that she thinks is like one of the funniest things she's seen in a long time. I don't know about so no offense to your wife and Sam. Sam Rockwell's in it or maybe she thinks it's really clever.

[00:56:51] I'm not sure. I have to have a movie. So I don't know what she's talking about. Sam Rockwell's in it, which I like him. But I guess one of the reasons that I strayed away from it is I am not a fan of the director,

[00:57:03] the director, Matthew Vaughn, because he does the Kingsman. Kingsman franchise. Never, never been a fan of that. Saw the first saw the first one. I think I saw the second one, but definitely didn't see the third one. Or like, yeah, I just kind of strayed away.

[00:57:20] So, yeah, not I wasn't rushing out to see this. And that's what this seemed like. It was kind of in the vein of look the same. But it had kind of a stranger than fiction vibe

[00:57:30] because there's a writer involved like that Will Ferrell movie from a while ago. So I don't know. I just kind of avoided everything. OK, it is very much in the vein of the Kingsman movies style wise, although less violent, a little more sanitized, a little more.

[00:57:47] I mean, it's one that you want that you could have family watching. It's not. Wow. I mean, look, there's still violence and there's still all that. But it's not to the it's not anywhere near the Kingsman level. Can and there's also seeming

[00:58:02] and it does have that sort of fiction kind of mystery vibe going on about her being an author and how involved she is in the actual story she's writing about. Yeah, it's yeah, it's man.

[00:58:13] I just want to talk about it because I have I have I can't decide. I just can't decide if I liked it or not. I mean, I mean, there are parts of it that are really, really, really bad and dumb. But then there's some parts I'm wondering,

[00:58:26] it might have actually been pretty good. I don't know. I don't know. It's a tough one. So if you had to pin it down and just knock all your feelings about it down to a star rating, what would it be? Oh, boy, I can't do it.

[00:58:37] It depends on what mood I'm in at that exact minute. I could give it got you one and a half, two stars, two stars. I could give it three and a half for. I don't know. I mean, really, just really is. It's so bizarre.

[00:58:50] But I need I need to talk about this film and I don't know anybody else who's seen it. So it is on it did have a plus as a free movie. Like, it's not even a rental. It's like part of Apple TV plus the streaming service. Gotcha. Yeah.

[00:59:07] So I need I need we need to discuss. So put that on your I know you're watching film festival submissions. I know you're spending time with that. And I'm sure means that's a priority. But hopefully after the next couple of weeks,

[00:59:20] you might be able to have some time at some point. Let's just dog ear that for a future conversation and a future episode. We need to do a little a little deep dive on our guy. And it came out this year, right?

[00:59:33] Yeah, it bombed historically bad bombing at the box office. Scared by critics. And again, I get it. I do. I see that I see the critical reviews on my. Oh, yeah, I totally get that. I totally get why you just bond this movie.

[00:59:48] That can be an advantage for me because I'll be going into this with extremely low expectations and watching it for the comfort of my own couch. So I don't have to worry about like, you know, setting aside a bunch of scheduling time.

[01:00:01] So will it will it deliver on anything? I'll just tell you, it's really, really interestingly odd choices made in this film. OK, there's a use of music, a particular song that I can talk about and ask questions about.

[01:00:19] There's a price Dallas Howard got to talk about her performance. I mean, it's just she's the writer. Yeah, there's a lot to unpack on this film. So I'm just laying it out there. OK, is worth a discussion. Not not necessarily even a review.

[01:00:34] I just want a discussion about it. I just want to understanding people's take on this. All right. OK, we'll do that. That's a tease for a future episode. I don't know when they'll have a go. Seeing as how we're already at episode 301,

[01:00:48] maybe we'll get to about 400 or something. So who knows? These are all seem to just fly by so quick. All right, Chris, if anybody has any thoughts on anything we talked about today, either of the reviews, any of the or the preview for Paddington,

[01:01:02] if you're a big fan of that and looking forward to it, let us know. Anything else they want to talk to us about, Chris, how can they do that? Sure, they can send an email to info at info candle dot org. That rolls off the tongue.

[01:01:14] Follow us on Twitter at Foot Candle Film. Facebook, we're on there. I'm for Candle Film Society. Instagram threads were just simply foot candle film. Al and I are on Letterboxd where we try to track what we're seeing and sometimes leave quick takes.

[01:01:28] The Foot Candle Film Festival is coming up. It's going to be September 20th through the 28th. We would love to have you attend if you're going to be in Western North Carolina. It'll be primarily housed at the Hicker Community Theater.

[01:01:41] They're going to let us take over the theater for that week. So we'd love to have you come join us if you can. It's going to be our tenth year. We're expecting big things, so I hope you can join us. All right. Coming up very soon.

[01:01:53] Stay tuned for more information about the festival. But also we will be back soon, probably within the next couple of weeks, week or so, to do another episode of the candle film. Some more reviews, more film discussions and so forth. And with that, we're going to sign off.

[01:02:09] Thanks so much for listening and we'll talk to you next time. See you in the ticket line. Special thanks to Carpal Taller for the show theme music. For more about Carpal Taller, visit www.carpaltaller.com. You've been listening to The Mesh, an online media network of shows

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