Monkey Man

[00:00:00] What you want, when you want it, where you want it, this is The MESH.

[00:00:07] Footcandle Films, Film news and reviews from two guys who really like movies.

[00:00:18] This episode is brought to you by the Footcandle Film Society.

[00:00:22] For a schedule of upcoming screenings and membership information,

[00:00:26] visit the society's website at www.footcandle.org.

[00:00:33] Hello everyone, and welcome to Footcandle Films here on TheMesh.TV podcast network.

[00:00:39] My name is Alan Jackson. With me is Chris Fry.

[00:00:42] We are with the Footcandle Film Society and the annual Footcandle Film Festival.

[00:00:47] But today we're here on Footcandle Films podcast to talk about other people's movies.

[00:00:52] So, Chris, how you doing today?

[00:00:54] I'm doing good. I was surprised that Dev Patel chose a song from Let It Bleed,

[00:01:01] The Rolling Stones album and Monkey Man is his first thing to focus on.

[00:01:05] But I mean...

[00:01:06] It's a two hour exploration of that one song, which I thought was pretty impressive.

[00:01:10] It's a lesser known song. It's not as popular as like you can't always get what you want

[00:01:14] or give me shelter that's on that same album.

[00:01:17] But you know, you do you.

[00:01:19] Dev Patel going on the deep cuts for us here.

[00:01:22] So, well, I actually hate to break this to you, Chris.

[00:01:25] It's actually very, very different from that tone of film.

[00:01:29] I'm hoping you watch the same film that I did.

[00:01:32] We will be discussing the latest film as Chris alluded to Monkey Man,

[00:01:37] which was written, directed and starring Mr. Dev Patel.

[00:01:41] We will be reviewing that film. You did see that film, right, Chris?

[00:01:45] I may see it.

[00:01:46] Is that sounding familiar?

[00:01:47] We take this quick...

[00:01:48] An anonymous young man unleashes a campaign of vengeance against the corrupt leaders

[00:01:51] of his mother. Sounding familiar at all?

[00:01:53] Maybe.

[00:01:54] Okay, all right. We'll see when we get to the review.

[00:01:56] We will be reviewing that film Monkey Man here in just a moment.

[00:02:00] After that, Chris and I have some news and trailers to share about some upcoming

[00:02:04] film projects. One of them, I'll go ahead and tease a little bit,

[00:02:08] starring a Mr. Christian Bale, which always kind of interested to see

[00:02:11] projects he's involved in.

[00:02:13] Then a couple of trailers from my and Chris's, definitely Chris's,

[00:02:17] favorite studio, A24. Just so happens that seems to be all these stuff

[00:02:21] we tend to show, but I'm more maybe a little biased there,

[00:02:25] but that's what we've got is two more trailers of films coming out from

[00:02:28] studio A24 and we'll be discussing those as well.

[00:02:32] I'm going to pass on Chris's recommendations this week.

[00:02:35] I know I was turning that into almost like a weekly thing,

[00:02:38] but you know, we can only ask so much of Chris.

[00:02:41] Chris, you give a recommendation you give of your heart and your soul

[00:02:45] every week to tell us about a film we should check out.

[00:02:48] I'm giving you a break this week because I feel like, you know,

[00:02:51] you just need a little bit of a breather and we'll pick back up in the

[00:02:54] coming weeks with another recommendation. That's okay.

[00:02:57] Excellent. Yeah, I will admit I am kind of knee deep in festival submissions

[00:03:01] for the Foot Camp Film Festival.

[00:03:04] Yes, I'm trying to plow through those.

[00:03:06] So it kind of gets hard to just do the general.

[00:03:09] Understood. So thank you for the pass.

[00:03:11] No, no, I understood. All right. That's what we'll do this week.

[00:03:13] All right, Chris. Let's go ahead and jump into our main review.

[00:03:16] And like we've said already, it is the film by director Dev Patel, Monkey Man.

[00:03:43] The White Monkey.

[00:03:47] Dev Patel made his cinematic debut with the Danny Boyle film,

[00:03:51] Some Dog Millionaire. He's since gone on to star in many films,

[00:03:55] including the personal history of David Copperfield,

[00:03:57] which Alan and I actually championed on a previous episode.

[00:04:00] And he's also been a part of the film,

[00:04:03] which is a film that has been a part of the film's history

[00:04:06] since the first film, which was called The White Monkey.

[00:04:09] The White Monkey, which is the history of David Copperfield,

[00:04:12] which Alan and I actually championed on a previous episode.

[00:04:15] The Green Knight and two S. Anderson shorts from last year,

[00:04:18] Poison and the Academy Award winning the wonderful story of Henry Sugar.

[00:04:22] With Monkey Man, we have Dev Patel's directorial debut,

[00:04:27] in which he also co-wrote and stars as an anonymous young man

[00:04:31] who unleashes a campaign of vengeance

[00:04:33] against the corrupt leaders who murdered his mother.

[00:04:36] And that's the story of Mr. Dev Patel's debut, Alan.

[00:04:40] Okay, so...

[00:04:42] It's a family film.

[00:04:44] Yeah.

[00:04:45] Full disclaimer,

[00:04:47] I'm afraid my review is going to be severely impacted,

[00:04:51] but what I'm starting to suspect

[00:04:54] might be a technical problem with the screening I attended last night.

[00:04:58] Oh.

[00:04:59] No, I'm being very serious here.

[00:05:01] Okay, now the last...

[00:05:02] You mentioned this with one of the last ones.

[00:05:04] There was a red tint.

[00:05:05] Well, red tint.

[00:05:06] That did not affect my review of Dune 2.

[00:05:08] Dune 2 was the one.

[00:05:09] Right, right.

[00:05:10] I was able to still distance myself from any projection issues on that one.

[00:05:14] Okay.

[00:05:15] This one in all seriousness, and if I am wrong

[00:05:18] and there was not a technical problem with the film,

[00:05:21] then I actually have a much harsher review of the film.

[00:05:25] Okay.

[00:05:26] Did you watch it in the same...

[00:05:27] I know you watched it at the same theater complex,

[00:05:29] but did you watch it in the same theater?

[00:05:31] Like in the actual same like...

[00:05:32] Oh, no, no.

[00:05:33] It was a different theater.

[00:05:34] No, no, it was a different theater.

[00:05:35] I don't think this was playing in the Dolby Cinema, was it?

[00:05:37] Okay.

[00:05:38] No, no, no, I don't think it was.

[00:05:40] So yeah, my screening, I am of the thinking suspicion

[00:05:46] that the framing was off where everything was actually tighter

[00:05:52] on the screen than what it was meant to be.

[00:05:56] Okay.

[00:05:57] Like sometimes you can change the aspect ratio of like in it...

[00:06:00] Subtitles.

[00:06:01] Flatter scope.

[00:06:02] Subtitles are present on the screen, but they were like resting

[00:06:05] right along the bottom of the screen, which is normally to me

[00:06:08] kind of a dead giveaway of like, oh, that's something wrong.

[00:06:12] Now if I'm wrong about that and that's the way the film

[00:06:16] is actually framed and shot, okay, then I seriously had problems

[00:06:20] watching this movie because it just...

[00:06:22] It was...

[00:06:23] Everything was so tight and chaotic in the editing

[00:06:28] and it's just hard to follow.

[00:06:30] So I'm actually found myself really struggling to watch this film

[00:06:33] at times.

[00:06:34] So that's why I think it because I'm not seeing anybody else kind

[00:06:37] of giving that same critique online or other reviews.

[00:06:40] I'm thinking something was wrong with my screening.

[00:06:43] Okay, I saw it the same theater.

[00:06:45] I'm not sure if I actually saw it in the same like, you know,

[00:06:47] actual theater within the theater, maybe theater complex.

[00:06:51] I don't recall that.

[00:06:54] I mean, I definitely sometimes, but I don't remember them being

[00:06:56] like what you're describing.

[00:06:58] So subtitles were really close to the bottom of the screen.

[00:07:01] Yeah.

[00:07:02] They never ran off the screen, but they were really close

[00:07:05] and there's just way too many times there were close ups

[00:07:08] or things where it was just uncomfortably close.

[00:07:11] I think...

[00:07:12] And the action was uncomfortably close

[00:07:14] where it was very hard to follow in a lot of cases.

[00:07:16] I mean, I'm not saying that pulling back,

[00:07:19] if the framing had been a little better,

[00:07:20] that would have been able to follow it even that much

[00:07:23] better, but it definitely had an impact.

[00:07:25] Okay.

[00:07:26] So I'm just going to go and put it out there.

[00:07:27] It was a very tough viewing experience for me.

[00:07:30] Okay.

[00:07:31] Where I really had a hard time watching the film.

[00:07:33] Got you.

[00:07:34] Okay.

[00:07:35] I think it's...

[00:07:36] From what I can get from what you're saying,

[00:07:38] I think it was a mistake.

[00:07:40] I think it is a screen-to-screen problem.

[00:07:42] Again, after I made my own notes,

[00:07:44] I kind of like went online and tried to scour,

[00:07:46] see if anybody else was posting similar comments

[00:07:48] about the proximity of the framing of...

[00:07:53] It's like how it was shot.

[00:07:54] Yeah, and nobody else was making those comments.

[00:07:56] So I really think it might have been.

[00:07:58] In me and the four people in the theater with me,

[00:08:01] none of us had the gumption to actually get up

[00:08:03] and go talk to somebody and say,

[00:08:05] hey, is this right?

[00:08:06] Because it feels really weird.

[00:08:08] It feels very bad.

[00:08:09] Because for about half the film,

[00:08:11] I'm just like, man, Dev Patel,

[00:08:12] I'm not happy with his...

[00:08:14] The way he's decided to do it.

[00:08:16] Whoever a cinematographer is or whatever

[00:08:17] his directorial choice is here

[00:08:18] with the way he framed his shots

[00:08:20] and looks because it's just so tough

[00:08:22] to follow and watch.

[00:08:23] About halfway through, I'm like,

[00:08:25] okay, I think something's wrong.

[00:08:26] Okay.

[00:08:27] So that needs to be a caveat over the whole thing.

[00:08:29] Got you.

[00:08:30] Understood.

[00:08:31] Beyond that look, this is not my kind of movie.

[00:08:34] What I saw the close fighting scenes

[00:08:38] and they instigated the technique

[00:08:40] of biting each other's noses and like the sound.

[00:08:42] I thought Alan's really going to be on...

[00:08:44] He likes body horror stuff.

[00:08:45] I love body horror.

[00:08:46] That's my favorite thing.

[00:08:47] No, it's...

[00:08:48] I get it.

[00:08:49] I mean, this is a...

[00:08:51] People have been alluding to John Wick

[00:08:54] and their comparisons with this.

[00:08:55] The film itself actually kind of makes a comment

[00:08:58] about John Wick itself.

[00:08:59] Kind of.

[00:09:00] There's a sympathetic dogs.

[00:09:01] Yes, there's a dog.

[00:09:03] It's like I get it.

[00:09:04] And it's John Wick with a kind of political

[00:09:06] socio commentary added in the mix,

[00:09:09] which I'm cool with that.

[00:09:11] Right.

[00:09:12] I am cool with a lot of the things

[00:09:13] that Monkey Man wanted to do.

[00:09:15] I'm not terribly cool with the way

[00:09:17] it decided to do them.

[00:09:19] If that makes sense.

[00:09:20] Sure.

[00:09:21] I like the ideas

[00:09:22] and I like the concepts introduced here in this film.

[00:09:24] And I like kind of what is trying to be said.

[00:09:26] I just didn't really care for the execution

[00:09:29] on many of the things I saw at all.

[00:09:33] For example, yes, I get...

[00:09:37] The story is as I kind of teased at the beginning,

[00:09:40] it's a young man who unleashes a campaign

[00:09:42] of vengeance against the corrupt leaders

[00:09:44] who murdered his mother,

[00:09:45] continued to systematically victimize

[00:09:47] the poor and powerless.

[00:09:49] That is obviously something very keen

[00:09:51] that Jeff Patel wanted to dig into is this whole idea

[00:09:53] of the marginalized people,

[00:09:55] the societies, especially in India

[00:09:57] that are still suffering under a corrupt government

[00:10:00] and kind of feeling for those people

[00:10:04] who were the outcasts of society

[00:10:06] and were being put down by these other forces.

[00:10:09] Totally get it.

[00:10:10] And I totally admire the interest

[00:10:12] and want to explore that.

[00:10:14] But outside of a couple of scenes

[00:10:16] where there's commentary about that,

[00:10:20] it still even takes this whole population

[00:10:22] of those marginalized people

[00:10:24] who show up halfway through the film

[00:10:26] and become part of the film.

[00:10:28] And they become just as bloodthirsty

[00:10:30] and violent as the Jeff Patel kid character does,

[00:10:33] which I'm like, okay, well, that doesn't really

[00:10:36] quite win me over on your commentary here.

[00:10:39] So again, the ideas and the concepts are good.

[00:10:42] It's the execution as how it went about doing it.

[00:10:45] I didn't feel like it was great.

[00:10:48] Yeah, it is extremely violent.

[00:10:51] It was probably just a tad over the top

[00:10:54] for me, violence-wise,

[00:10:56] then I felt like it needed to be

[00:10:58] to still serve as a good strong film.

[00:11:00] That made it a little uncomfortable at times.

[00:11:02] But there's some good stuff here,

[00:11:06] but you kind of have to merc through for me.

[00:11:08] I had to merc through a lot of the rest of the film

[00:11:10] to kind of find those little good moments

[00:11:12] and good things.

[00:11:13] And even any of the good moments I found,

[00:11:15] I found myself questioning the way we got there

[00:11:19] or what's going to happen after that moment.

[00:11:21] So, you know, it's really tough when a film

[00:11:25] wants you to see a lead character

[00:11:28] as one type of physical ability

[00:11:31] and then thanks to a five-minute,

[00:11:34] you know, rocky-ish type training montage,

[00:11:37] all of a sudden he is John Wick to the extreme.

[00:11:41] But then he still does something really

[00:11:45] just kind of dumbed in the final battle

[00:11:48] that you're just like, okay, yeah,

[00:11:50] you're back to like the capability-wise

[00:11:52] you were at the beginning.

[00:11:53] In other words, they had cool scenes

[00:11:55] that just took some poor execution

[00:11:57] and plotting to get to those moments

[00:11:59] and scenes, and that kind of lost me a while.

[00:12:01] So, look, I'll go ahead and say,

[00:12:03] I'm clouded by my screening experience.

[00:12:05] It was a tough watch for me.

[00:12:06] I honestly almost had to, like,

[00:12:08] at one point get up and like,

[00:12:10] I don't know if I can keep watching this film

[00:12:12] the way it's being portrayed.

[00:12:13] So, I really think it was the theater projection.

[00:12:16] But that being said, I am anxious to hear your thoughts.

[00:12:19] Yours with a much better, cleaner screening experience.

[00:12:23] Maybe it helped with the perception of the film a little bit.

[00:12:26] What did you think?

[00:12:27] I would like to say that it did.

[00:12:29] Okay.

[00:12:30] But it sounds like, regardless,

[00:12:32] I think you and I are kind of on the same page.

[00:12:35] I like Dev Patel as an actor.

[00:12:38] His acting in the film, it's not the problem for me.

[00:12:41] It's good.

[00:12:42] I admire what you admired about it.

[00:12:46] They're trying to, it's like, okay, I'm making an action film,

[00:12:49] but in doing so, I do have a little bit of an agenda,

[00:12:52] something I'm trying to show, like,

[00:12:54] this political situation and the class system

[00:12:58] or caste system, I guess you'd say, in India.

[00:13:01] And so it was like a slant with a purpose.

[00:13:04] Okay, all that cool.

[00:13:06] But at the end of the day, it did get a little muddy.

[00:13:11] And I think possibly if, I mean,

[00:13:15] I guess Dev Patel, it's a passion project.

[00:13:17] So if he'd have been writer, director,

[00:13:19] and maybe not acted in it,

[00:13:20] maybe it could have jailed a little better or something

[00:13:23] like, because he has a little bit of distance

[00:13:25] and could have like spent a little bit more time.

[00:13:27] For me, I'm not as, I have a very, you know,

[00:13:31] middle school understanding of political situations in India.

[00:13:34] Like I understand the caste system,

[00:13:35] I'm learning about that.

[00:13:36] But it seemed like I think people, maybe in India,

[00:13:41] although I imagine Indian government

[00:13:43] probably is not going to be very hip on this film,

[00:13:45] but like it would speak more to them

[00:13:47] and make more sense to them.

[00:13:50] But I felt a little lost and kind of, yeah.

[00:13:54] And having the lower caste group of people

[00:13:58] suddenly become like fighting ninjas or whatever,

[00:14:00] I felt I could have a stretch.

[00:14:02] I mean, grid it's, you know, the whole,

[00:14:04] oh, it looked cool.

[00:14:06] I mean, that's the thing is that it,

[00:14:08] and that's again what I'm kind of coming to is that

[00:14:10] there's a fight sequence in the latter stages of this film

[00:14:15] where you have Dev Patel

[00:14:17] and he is in full John Wick mode at this point.

[00:14:19] I mean, he has now been like rebooted

[00:14:22] and he is now, he is John Wick personified on screen.

[00:14:26] And it's actually of all the sequences,

[00:14:28] that sequence I did actually enjoy the most visually

[00:14:31] because I think it was just a kind of a,

[00:14:34] it was a nicely paced action sequence in general.

[00:14:38] But you had this community of...

[00:14:41] I didn't understand his MacGyver fireworks at that point.

[00:14:45] Yeah, yeah, that was kind of interesting.

[00:14:47] I mean, it was unique, it was cool,

[00:14:49] but I don't really understand the effectiveness of it.

[00:14:51] It didn't seem to be effective at all.

[00:14:53] Right.

[00:14:54] But then out of nowhere,

[00:14:55] you have this group of people

[00:14:57] that he's befriended now earlier in the film

[00:14:59] that are very peace-loving

[00:15:02] and just have been very supportive of him

[00:15:04] and trying to nurture him back to health.

[00:15:06] And all of a sudden now they are,

[00:15:08] they are ninja killing machines as well.

[00:15:10] And I'm like, where did this come from?

[00:15:12] How do we even know that this was capable?

[00:15:14] But they're doing it in these really cool traditional garbs

[00:15:17] and I'm like, yeah, it looked awesome.

[00:15:19] Yeah.

[00:15:20] But it just didn't make any sense.

[00:15:21] So, you know,

[00:15:23] it was taking some really, really important themes

[00:15:27] and layering it into a film

[00:15:30] that was just extreme violence and brutality.

[00:15:35] And adding in some cool moments that,

[00:15:37] yeah, if you look at that moment individually,

[00:15:39] it is a cool moment or it's a cool scene

[00:15:41] or there's a cool visual imagery here,

[00:15:43] but it just didn't make any,

[00:15:46] it didn't make the sense it needed to make

[00:15:48] to get there or to leave from that scene

[00:15:50] and continue on.

[00:15:51] So, yeah.

[00:15:53] So I will say, you know,

[00:15:56] I think you are definitely on the same page,

[00:15:58] but trying to highlight some things that we did like about film

[00:16:00] because we like to try to highlight the positive.

[00:16:04] Sure, yeah, I've got a few too.

[00:16:06] So, yeah, we both are on that page.

[00:16:08] You mentioned the training sequence.

[00:16:12] I actually, I kind of liked it because it was,

[00:16:16] you know, it's just,

[00:16:17] I think maybe they're tabla drums, I don't know,

[00:16:19] but this guy is like basically he uses the rhythm of the drum.

[00:16:22] Yeah, he's the tabla.

[00:16:23] Yeah, he's libel as the tabla maestro.

[00:16:25] Okay, so tabla.

[00:16:26] Okay, so he uses these drums and then Depitele's character

[00:16:29] kind of learns how to like hit a punching bag,

[00:16:32] so it's in rhythm and because this is taking place in India

[00:16:36] and that's a traditional instrument from that area,

[00:16:38] I'm like, okay.

[00:16:39] And it, I think they kind of wink a little bit at the audience too

[00:16:43] because it's like, you know, the people admiring

[00:16:45] or like looking on and like cheering on it.

[00:16:47] So it's kind of like a rocky montage.

[00:16:50] Yeah.

[00:16:51] But it's winking and I'm like,

[00:16:52] Okay, but you're spinning it from the area.

[00:16:55] So I like actually that wasn't my favorite part

[00:16:58] because I thought the train montage was great.

[00:17:00] Yes.

[00:17:01] I just didn't buy the fact that after this montage,

[00:17:03] the ultimate fighting machine that he has now become,

[00:17:08] I'm like, all right, I don't buy that.

[00:17:10] I got it.

[00:17:11] So the training sequence itself and the use

[00:17:13] of the tabla drum as he was playing it

[00:17:15] and kind of working in some Indian,

[00:17:18] you know, heritage and traditions into this training montage

[00:17:23] was really cool.

[00:17:24] I liked that a lot.

[00:17:25] Yeah, I liked there are some sequences I really liked.

[00:17:28] It's just again, you have to kind of question,

[00:17:30] okay, well, what does this really,

[00:17:32] how does this lead into the rest of story?

[00:17:34] How does this make sense with the bigger story we're seeing?

[00:17:37] I'll say too, you know, I was worried

[00:17:40] but again, I'm going to turn into a positive.

[00:17:43] The whole, you know, going in,

[00:17:45] it's like, okay, it's Dev Patel's version of John Wick in India.

[00:17:48] But there was more to it than that

[00:17:50] and actually kind of, I guess you could say maybe using the dog

[00:17:54] as something more than just a heart string pulling device.

[00:17:57] It actually has a, I felt like it used to be,

[00:17:59] I was like, okay, you got me.

[00:18:01] I thought it was just going to be okay.

[00:18:03] Here's sympathetic man with a dog.

[00:18:05] But no, there was something there.

[00:18:07] A visual that I wish had been continued more

[00:18:12] because I really liked the visual of it.

[00:18:14] I'm going to talk about the mask.

[00:18:15] The monkey man.

[00:18:16] Oh, absolutely.

[00:18:17] And maybe it's because he didn't want to come off as too much

[00:18:20] of like a superhero, like a Batman.

[00:18:23] So nobody knows who Monkey Man is.

[00:18:25] But like, I actually just,

[00:18:27] it just was really weird and kind of disturbing.

[00:18:31] And then at one point,

[00:18:33] the appearance of the mask changes

[00:18:35] and there's kind of like, okay,

[00:18:37] and you think that's a second,

[00:18:38] but then it's almost immediately described after that.

[00:18:40] I mean, it's so obviously a scene where he is approaching

[00:18:44] what's going to become his final battle area.

[00:18:47] And he's wearing the mask.

[00:18:48] I'm like, oh, yes.

[00:18:49] Okay, this is good.

[00:18:51] This is a take I like.

[00:18:53] And then as soon as he saw people he's approaching,

[00:18:55] he immediately took it off and threw it off

[00:18:57] and started punching and fighting.

[00:18:58] I'm like, well, okay,

[00:18:59] well that was kind of pointless.

[00:19:00] Like, you know,

[00:19:01] why go through this whole rebirth of this mask

[00:19:03] and the use of,

[00:19:04] because the mask is something he would wear

[00:19:06] when he was fighting in these kind of underground fighting

[00:19:09] contest early in the film,

[00:19:11] throwing a lot of these fights just for money.

[00:19:14] He would wear the monkey man mask and also it's a kind of connection

[00:19:17] to a traditional story of heritage of his,

[00:19:21] of his,

[00:19:22] I'm not sure if it's religious story or if it's just more historical story

[00:19:28] or something.

[00:19:29] Sure.

[00:19:30] Basically he has kind of adopted this personality of this

[00:19:33] what's translated as monkey man.

[00:19:36] Right.

[00:19:37] No, I'm with you.

[00:19:38] I'm with Chris where I'm like,

[00:19:39] there was a really cool idea and thing there

[00:19:42] and it just wasn't executed right.

[00:19:44] It's like, yeah, the mask is great.

[00:19:46] How cool would it have been to actually see him wearing the mask

[00:19:49] during some of that final fighting sequence

[00:19:51] and like that be part of him?

[00:19:52] Like that would have been pretty cool.

[00:19:54] That would have been different and interesting,

[00:19:56] but it got discarded just as soon as we realized,

[00:19:59] nope, we need to see Dev Patel's face this whole time

[00:20:01] and we don't need to have a superhero mask on.

[00:20:04] So you know,

[00:20:05] yeah, it was a little disappointing there.

[00:20:07] What else do you have on the, you have some positives?

[00:20:09] Yeah, I applaud the use of subtitles as much as they were.

[00:20:15] They were not bordering the bottom of the screen

[00:20:17] like they were yours.

[00:20:19] I wish but I completely understand that the whole film

[00:20:24] could have just been subtitled

[00:20:26] because then it was like,

[00:20:29] I think it would just immersed me more in that world

[00:20:32] but I understand, you know,

[00:20:34] he's fortunate enough to get this movie made.

[00:20:36] It was his first effort.

[00:20:37] So he's like, okay, I can have subtitles

[00:20:39] but I don't want the whole thing to be subtitled

[00:20:41] because American audiences may not go in for a subtitle,

[00:20:43] John Wick, you know, taking place in India.

[00:20:45] So I get it, but I just found myself like,

[00:20:47] oh, when I saw him, I was like, oh, okay.

[00:20:49] And then I just kind of wished sometimes

[00:20:51] that they had just been used throughout the screen.

[00:20:54] So those were,

[00:20:56] that was kind of an American touch

[00:20:58] that I wish wasn't there.

[00:21:00] Another one I'll say,

[00:21:01] but I like the fact that they did try to bother using him.

[00:21:04] It worried me a little bit talking about American touches.

[00:21:08] Somebody to love and Roxanne,

[00:21:10] I thought were kind of like pandering

[00:21:12] slash Pat's song choices to use when he used them.

[00:21:15] But then they kind of went away from those

[00:21:18] and started to use move music that was more India based.

[00:21:21] So I was like, okay, no, granted, the Roxanne.

[00:21:25] It was like dance club versions of the songs,

[00:21:27] which I thought fit.

[00:21:29] Because I mean, that's what other countries play.

[00:21:32] They do play American songs in their own clubs.

[00:21:35] So I kind of liked that.

[00:21:37] I thought was cool.

[00:21:38] I kind of wish it had continued a little bit more,

[00:21:40] but anyway, that's fine.

[00:21:42] But I feel like it was,

[00:21:44] sometimes it was a little bit too shorthand

[00:21:46] for what they were also trying to communicate.

[00:21:48] Because like, I think Roxanne,

[00:21:50] a little bit of that kind of hinted at

[00:21:52] the class system that he was trying to,

[00:21:54] so it was like, I don't know.

[00:21:56] I felt like, just, you know,

[00:21:58] I don't know.

[00:21:59] American shorthand that I wish kind of wasn't there.

[00:22:02] But interestingly,

[00:22:05] I don't want to ruin anything

[00:22:08] about the end of the film,

[00:22:09] but I do want to touch on it because,

[00:22:11] there again, I think it's something that

[00:22:14] it was, you know,

[00:22:16] there's a big fight and the outcome of that fight,

[00:22:19] you don't, I mean, you do know what happens,

[00:22:22] but then ultimately,

[00:22:24] I think you kind of can question,

[00:22:26] there's a line that is said kind of like,

[00:22:29] you know, it's a cycle.

[00:22:31] And then how the outcome of the

[00:22:34] final battle happens, the cycle

[00:22:37] seems like it's doomed to continue.

[00:22:39] And I thought there was some commentary there

[00:22:41] that weighed me with a little tweaking on

[00:22:43] some writing or something.

[00:22:44] Could have been like a whoa type moment

[00:22:47] at the end of the film.

[00:22:48] And it just,

[00:22:49] It didn't work.

[00:22:50] It didn't work.

[00:22:51] Yeah, so I don't want to spoil anything,

[00:22:53] but I thought I was like, huh.

[00:22:54] The final, final.

[00:22:56] Correct.

[00:22:57] I mean, like cut the credits right afterwards.

[00:22:58] Yeah.

[00:22:59] And I was like, okay, so.

[00:23:01] Yeah, maybe.

[00:23:02] Yeah, I didn't know how I was supposed to take

[00:23:05] what I had just seen.

[00:23:07] Yeah, there's obviously a message trying to be

[00:23:09] communicated with the way the last shot plays out.

[00:23:11] Right.

[00:23:12] But yeah, we're not quite sure what that is.

[00:23:14] Right.

[00:23:15] And that's again,

[00:23:16] not a film has to spell out everything for us.

[00:23:18] I don't mind an ambiguous.

[00:23:20] No, but I think they were trying to give me a point.

[00:23:22] Right.

[00:23:23] And I think it's the film is trying to say something,

[00:23:26] but it kind of didn't quite figure out how to

[00:23:29] say it by the end.

[00:23:30] Right.

[00:23:31] Yeah, it was like, I think they were trying to make,

[00:23:32] yeah, because they kind of,

[00:23:33] there's this conversation that's had as the battle

[00:23:36] is starting to go on about like keeping a cycle.

[00:23:38] You're creating this cycle and then you're like,

[00:23:40] oh, interesting.

[00:23:41] There's like some philosophy and then it's kind of

[00:23:43] jettison it then you're like, okay, so wait.

[00:23:45] Yeah.

[00:23:46] Are you trying to say that bore out or like,

[00:23:50] so I don't, and I don't think that was their intention.

[00:23:52] I think they, I don't know.

[00:23:54] It's odd.

[00:23:56] Yeah.

[00:23:57] I think again,

[00:23:58] I think the film was had the right intentions.

[00:24:01] I think it had the right overall concept.

[00:24:03] Okay.

[00:24:04] I think in some moments and ideas that were trying

[00:24:08] to be shared in the film,

[00:24:09] I think were the right ones.

[00:24:12] It was just how to go from point to point,

[00:24:15] how to make those points visually and expressively on the screen.

[00:24:21] Didn't quite get there.

[00:24:22] And then I felt like a lot of the plotting was,

[00:24:24] okay, we just have to get to this moment.

[00:24:27] We want to have the super cool John Wick style fight

[00:24:30] sequence at the end where he's taking down,

[00:24:32] you know, a horde of people pouring out of an elevator.

[00:24:35] Okay.

[00:24:36] But how do we get there when just 30 minutes ago in the

[00:24:38] film,

[00:24:39] he was getting his tail beat by random people and it didn't

[00:24:42] really have the skills to do it.

[00:24:44] Okay.

[00:24:45] Well, you got to,

[00:24:46] you got to make me feel like we got to that point at the end

[00:24:48] to really let me buy it and I just didn't buy it.

[00:24:52] And then on the same token when you turn right around

[00:24:54] and you give me a quote,

[00:24:56] final confrontation with somebody in a ladder,

[00:25:01] very late stage of the film after we've already seen him

[00:25:04] take down elevators full of people pouring out and took

[00:25:07] them all down.

[00:25:09] Then you,

[00:25:10] you're,

[00:25:11] you want me to believe that he gets distracted by

[00:25:15] something just quick enough to allow somebody to hurt

[00:25:18] him in a way.

[00:25:19] I'm like, okay,

[00:25:20] that makes no sense with everything you just showed me

[00:25:22] in the last 15 minutes.

[00:25:23] So again,

[00:25:25] they knew what moments they wanted to hit in the film.

[00:25:28] It's just how they got there and what leaps of

[00:25:31] logic sometimes we had to take as an audience to

[00:25:33] get there.

[00:25:34] Didn't always work.

[00:25:35] And then I was,

[00:25:36] I just do think,

[00:25:37] I think the brutality and the violence was just,

[00:25:40] just a tad much for this story.

[00:25:44] I'm not saying that a film shouldn't have this kind of

[00:25:46] level of brutality.

[00:25:47] I think a film can,

[00:25:48] if that's the film it wants to make and the story

[00:25:50] wants to tell.

[00:25:51] But again, we are ultimately talking about,

[00:25:56] yes, you're going against the corruption and people

[00:25:59] who are perpetuating extreme violence in the

[00:26:02] political circles and people in power.

[00:26:04] I get it.

[00:26:05] I think it's a little bit of a challenge to match fire

[00:26:08] with fire.

[00:26:09] And I totally understand that idea,

[00:26:11] but I just feel like it was a little bit trained to

[00:26:14] the character to go as almost over the top at times

[00:26:19] violent as he did.

[00:26:21] You know what I'm saying?

[00:26:22] It was,

[00:26:23] I do.

[00:26:24] And I think there's something to be said there.

[00:26:26] I kind of agree with you.

[00:26:27] It was over the top.

[00:26:28] But then I find myself questioning myself that

[00:26:32] if you're going to make a film like this and you're

[00:26:34] going to do an action film,

[00:26:36] is it better to make things seem cringy,

[00:26:41] make the violence seem real?

[00:26:43] And I think people are affected and it's brutal

[00:26:47] as opposed to just kind of,

[00:26:50] people get shot and followed and you don't see.

[00:26:52] But you know what I mean?

[00:26:53] Like is there,

[00:26:54] was he trying to actually make a point by making

[00:26:56] it really gruesome?

[00:26:57] I don't know.

[00:26:58] I don't even think it was the really,

[00:27:00] the fact that you see so much blood and you see

[00:27:03] so much brutality there.

[00:27:05] I don't think that was the problem for me.

[00:27:07] It was the almost a gleefulness of it at times.

[00:27:10] You know, there's one scene in particular.

[00:27:13] I can remember it was in,

[00:27:14] I think in an elevator and it involves nose biting.

[00:27:17] Well, there's lots of nose biting.

[00:27:19] I mean really take a drink every time there's

[00:27:21] a nose bite in this film because there's a lot.

[00:27:23] But there's actually in an elevator,

[00:27:24] there's a shot of a knife going in,

[00:27:28] I think to someone's neck.

[00:27:30] But then the death patelle who plays,

[00:27:32] who's kid by the way,

[00:27:33] I don't think we ever mentioned they kind of refer to him as kid.

[00:27:35] He's a kid.

[00:27:37] Takes it and takes his mouth and kind of like grabs it

[00:27:40] and twist it type of thing.

[00:27:41] And it's like just little things like that.

[00:27:43] It's like, okay, that,

[00:27:44] I like the idea of him being this,

[00:27:46] this vengeance filled machine at the end of the film.

[00:27:52] But it just went,

[00:27:54] it almost got gleefully over the top.

[00:27:59] I just, I felt like that was,

[00:28:00] that was a betrayal of the character that we've kind of grown

[00:28:03] to appreciate the last hour and a half, you know?

[00:28:06] Fair enough.

[00:28:07] So I think it had just some moments where it just went

[00:28:08] a little extreme and it didn't need to

[00:28:10] and it actually kind of betrayed the film a bit to do that

[00:28:13] and what the messaging of the film was as well.

[00:28:16] So I think an example of perfect casting.

[00:28:20] I was not aware that he was in this film.

[00:28:22] I think you know where I'm going.

[00:28:23] Oh yeah.

[00:28:24] Charlton Copley as the ringmaster of the kind of underground

[00:28:27] finding that I was like, whoa.

[00:28:28] And I immediately recognized him.

[00:28:30] I was like, okay.

[00:28:31] And he, you know,

[00:28:32] I think they'd worked on Chappy, I think together possibly.

[00:28:36] So cause I think Copley was in that film.

[00:28:38] I know.

[00:28:39] Yeah.

[00:28:40] I think he did the voice, right?

[00:28:41] Oh, okay.

[00:28:42] No, no, no, maybe, maybe no, maybe it wasn't.

[00:28:44] Maybe, I'm not sure.

[00:28:45] But like,

[00:28:46] I was surprised to see him in the film

[00:28:47] and it was kind of cool because it was just,

[00:28:49] just a cameo performance.

[00:28:51] You know, he wasn't in the whole lot of the film,

[00:28:53] but it was kind of a standout

[00:28:54] and somebody I recognized,

[00:28:56] but yet he wasn't overly distracting.

[00:28:58] So I thought that was,

[00:29:00] I thought that was interesting.

[00:29:01] He was the voice of Chappy.

[00:29:02] He was the voice of Chappy.

[00:29:03] No, he was really good.

[00:29:05] I thought I could have used some subtitles there as well.

[00:29:08] A few times.

[00:29:09] Okay.

[00:29:10] And again,

[00:29:11] because he has a,

[00:29:12] I think he's South African or whatever.

[00:29:14] But it was a big accent in the film.

[00:29:16] I probably layered on a little bit heavier.

[00:29:18] Yeah.

[00:29:19] I think, okay.

[00:29:21] Sometimes the Indian speakers

[00:29:24] that were speaking English,

[00:29:25] it was so heavy.

[00:29:26] Like, I was like, you know,

[00:29:28] like I said, just subtitle it.

[00:29:30] I am willing to read subtitles,

[00:29:32] but I understand the financial decision to not do it.

[00:29:34] But yeah, I think subtitles just throughout.

[00:29:36] Well, I think the thing you got to remember is,

[00:29:38] there's a lot of movie theaters.

[00:29:40] If you're a studio head

[00:29:41] or you're putting out these films,

[00:29:43] there's a lot of movie theaters.

[00:29:44] Don't always have the best sound system

[00:29:46] or the sound system's not always best.

[00:29:48] I feel that way about the theater I was in last night.

[00:29:50] Again,

[00:29:51] I'm questioning so much about the screening I went to

[00:29:53] because I had such a hard time with even hearing the dialogue

[00:29:56] or making it out.

[00:29:58] And I just,

[00:29:59] I just initially thought it was because of the accents

[00:30:02] and it was just hard for me to kind of decipher.

[00:30:04] But

[00:30:05] sounds like you had a little bit more of a hurdle.

[00:30:07] I think there were a lot more going on with the screening.

[00:30:09] But regardless,

[00:30:11] I don't see why,

[00:30:12] if you know that there are some heavy use of accents,

[00:30:15] even if they're speaking English language,

[00:30:18] making it to where if people did need them

[00:30:21] to be able to kind of help make sure they knew what was going on.

[00:30:23] I don't have any problem with that.

[00:30:24] I think that's probably a good move in a lot of cases.

[00:30:28] Because I, yeah,

[00:30:30] I personally would rather always people see people

[00:30:32] speak their native language on film.

[00:30:34] I don't like it when they force people to speak English

[00:30:38] and you know,

[00:30:40] when we have subtitles we could use to understand

[00:30:42] what they're saying and I'm perfectly fine with that.

[00:30:44] I'd rather that.

[00:30:47] Okay, well monkey man, yeah,

[00:30:49] I'll say ultimately,

[00:30:51] look, I will say this,

[00:30:52] I think there's potential with Dev Patel

[00:30:54] from a director and moviemaking standpoint.

[00:30:57] He's obviously got some talent.

[00:30:58] There is some good use of

[00:31:02] directorial choices in this film

[00:31:04] and I think it's nice to see him

[00:31:08] take this on as his first project,

[00:31:10] something he has a little bit of passion for.

[00:31:12] I think it shows in the film.

[00:31:13] And to go after something so genre specific like this

[00:31:16] that typically if you see actors

[00:31:18] they'd go and say they're going to make their first film.

[00:31:20] They normally don't go this route with like a heavy,

[00:31:26] relentless action, violent film

[00:31:29] with a sociopolitical message to it.

[00:31:32] That's not a first choice for a lot of people.

[00:31:34] Everybody's been kind of comparing,

[00:31:36] which understandably you and I did John Wick

[00:31:39] but smash that with like slumdog millionaire

[00:31:42] and in a way that's kind of what they're doing.

[00:31:44] That's a little bit what you're talking about here.

[00:31:45] So there's definitely potential here.

[00:31:47] I just, I think this film was just,

[00:31:49] it was too flawed in its execution

[00:31:51] for me to be able to give it a recommendation.

[00:31:54] Sure, I'm there with you.

[00:31:56] I'm excited though because it seems

[00:31:58] like many people have gone monkey poo over monkey man.

[00:32:01] By saying monkey poo, that's good.

[00:32:04] Do they like monkey man or okay?

[00:32:06] There's a phrase that is like ape,

[00:32:08] ape excrement.

[00:32:09] Oh, I see, I see.

[00:32:10] I was trying to be more PG.

[00:32:12] You were doing the PG version of...

[00:32:14] So people have gone monkey poo over monkey man.

[00:32:16] I got it.

[00:32:17] And I was underwhelmed but I think it sounds like you and I

[00:32:20] both found the ambition despite on screen,

[00:32:23] admirable and we was like, okay,

[00:32:25] you know, it's good that he made it

[00:32:26] and we're looking,

[00:32:27] I'll be interested to see what he does next.

[00:32:29] I'll just say this.

[00:32:30] The next time I hear,

[00:32:31] hey, Deb Patel is directing a film,

[00:32:33] I'm going to be curious and interested

[00:32:35] in seeing what it is.

[00:32:37] I just hope it's not this again.

[00:32:42] I mean, you know, it's just, again,

[00:32:45] so many factors played against me on this, Chris.

[00:32:47] This is not my type of movie that I typically enjoy

[00:32:50] or appreciate.

[00:32:51] I'm watching it on what seems to be a suboptimal viewing

[00:32:55] experience and then I'm also not good with really over

[00:33:01] the top extreme violence on body parts

[00:33:03] and all that.

[00:33:04] There's a lot of that here.

[00:33:05] So, yeah, it was a bad mix for me but I, you know,

[00:33:10] but it sounds like you and I both got out of it.

[00:33:13] You know, his directorial debut and we're saying, okay,

[00:33:17] you know, he's, he's, if he continues to try to direct,

[00:33:20] he's going to do, we think interesting things.

[00:33:22] I think so too.

[00:33:23] Absolutely.

[00:33:24] Absolutely.

[00:33:25] So that is Monkey Man.

[00:33:26] It started on the in theaters April 5th.

[00:33:28] So it is still playing right now.

[00:33:30] Did okay in the box office.

[00:33:32] I mean, it was number two in the box office.

[00:33:35] And for a passion project.

[00:33:37] Yeah, with a hard R movie.

[00:33:41] Depp Patel is the only, you know, starring it really.

[00:33:44] Right.

[00:33:45] And I wouldn't say he is top box office magic for anything

[00:33:49] either.

[00:33:50] So it made $10 million, which against a pretty low budget.

[00:33:53] I think also in the 10 to $20 million budget.

[00:33:56] So I mean, it's going to be okay.

[00:33:58] There were already like things kicking around people asking

[00:34:00] Depp Patel if there was going to be a sequel to this and all

[00:34:02] that.

[00:34:03] So I kind of hope not.

[00:34:04] I'm like, just make something different.

[00:34:06] You got your story.

[00:34:07] You're good.

[00:34:08] So okay, that is Monkey Man.

[00:34:11] Let's move on to some news items after the break.

[00:34:14] So we're going to take a pretty quick break.

[00:34:16] We come back a news item and a couple trailers to share.

[00:34:19] That's what we're going to do.

[00:34:20] So stay tuned.

[00:34:21] You're listening to foot candle films here on the mesh dot

[00:34:24] TV.

[00:34:25] This podcast is sponsored by Jackson creative, a custom

[00:34:29] communication agency located in downtown Hickory, North

[00:34:32] Carolina, specializing in online content creation.

[00:34:36] To learn more visit the Jackson creative.com Jackson

[00:34:41] creative.

[00:34:42] We tell your story.

[00:34:44] Welcome back to foot candle films here on the mesh dot TV

[00:34:47] podcast network.

[00:34:48] Alan Jackson, Chris Fry with you having gone through our

[00:34:51] review of Monkey Man and the first half of the show.

[00:34:54] We are now going to talk about some new projects,

[00:34:58] things coming up in the coming months or possibly year as we

[00:35:03] get into these.

[00:35:04] Chris, I do have one news item like a story, not really

[00:35:08] anything audibly or visually I can show with it necessarily

[00:35:11] except there are photographs, but I know that's not going

[00:35:13] to help our podcast audience listeners.

[00:35:16] But then we will have to try to describe just described

[00:35:19] in painful detail.

[00:35:21] I will go pixel by pixel describing nice and then we

[00:35:25] are going to play two trailers of films that we know are

[00:35:28] coming up soon that we're just want to kind of learn a

[00:35:31] little bit more about and see if we're interested or not.

[00:35:33] So first up with the news item Chris Christian Bale,

[00:35:38] you are familiar with him.

[00:35:39] Yes.

[00:35:40] What was the last film we saw Christian Bale in?

[00:35:43] I don't know if we discussed it here on the show,

[00:35:46] but it was a Netflix something the blue eye or something.

[00:35:49] We did not discuss that.

[00:35:50] That was the last thing I saw him in the Edgar Allen

[00:35:53] Poe mystery type thing.

[00:35:54] Was it Amsterdam?

[00:35:55] Was the last theatrical?

[00:35:57] Maybe and that's definitely the last thing we discussed on

[00:36:01] the show that had Christian Bale in it.

[00:36:03] I'm pretty sure.

[00:36:04] I think that might be it.

[00:36:05] I think that's it.

[00:36:06] That was the David O Russell film.

[00:36:07] Right, correct.

[00:36:08] Yes.

[00:36:09] So Taylor Swift.

[00:36:10] That's right.

[00:36:11] Briefly.

[00:36:12] Briefly.

[00:36:13] So Maggie Gyllenhaal who is you know has an actress

[00:36:18] in her own right.

[00:36:19] I think Secretary is a film she was known for many years

[00:36:23] ago.

[00:36:24] She made her directorial debut with the lost daughter.

[00:36:27] The lost daughter which starred Jesse Buckley and Olivia

[00:36:31] Coleman, correct?

[00:36:32] I didn't see it.

[00:36:33] So I'm asking is that correct?

[00:36:35] Yes, that is true.

[00:36:36] So she is working on her second feature film and it

[00:36:39] does star Mr. Christian Bale.

[00:36:41] Okay.

[00:36:42] Do you know anything about this?

[00:36:44] I do not.

[00:36:45] Is she adapting another book because the lost daughter

[00:36:47] was a book that I'd never heard of that she adapted

[00:36:49] for the screenplay.

[00:36:50] I mean is she writing it or is she adapting it

[00:36:52] or do we know?

[00:36:53] Well it's definitely a form of an adaptation because

[00:36:56] it is a story you were all familiar with.

[00:36:59] Donkey Kong.

[00:37:00] And he's playing the I guess Mario that goes after

[00:37:04] Donkey Kong.

[00:37:05] No, no, no.

[00:37:06] Christian Bale is way too much of a method actor.

[00:37:08] He's playing the gorilla.

[00:37:09] Oh, fair enough.

[00:37:10] So he's playing Donkey Kong.

[00:37:12] That is awesome.

[00:37:13] I'm glad to know that she's like adapting video

[00:37:16] games now for her second film that'd be great.

[00:37:18] No actually a couple steps up from that.

[00:37:21] She is directing a film called The Bride which is about

[00:37:25] Frankenstein and the Bride.

[00:37:28] Huh, right.

[00:37:30] Okay so Frankenstein's Monster.

[00:37:33] Played by Christian Bale.

[00:37:35] Okay so he is playing the...

[00:37:36] Christian Bale is playing Frankenstein's Monster.

[00:37:38] Okay.

[00:37:39] And Jesse Buckley is playing The Bride.

[00:37:45] Okay.

[00:37:46] All right.

[00:37:47] So we're assuming it's kind of like a take on

[00:37:50] Bride of Frankenstein.

[00:37:52] So the description according to Variety is that

[00:37:54] The Bride is set in 1930 Chicago,

[00:37:57] puts a spin on the iconic Frankenstein lore.

[00:38:00] Okay.

[00:38:01] Buckley's murdered young woman is revived

[00:38:03] but her new life surprises her creators as she lusts

[00:38:06] for romance and ignites a radical social movement.

[00:38:10] So yeah so both a change in time period,

[00:38:14] a change in location and has a different story line

[00:38:19] to follow here but we do have Christian Bale

[00:38:22] and a photo has been released of him as Frankenstein's

[00:38:25] Monster.

[00:38:26] Okay.

[00:38:27] And you have a photo of Jesse Buckley as The Bride.

[00:38:29] So it's going to be interesting I think.

[00:38:33] And interesting on the heels of Poor Things.

[00:38:36] Yeah because right away in that description

[00:38:38] even were some very similar tongues.

[00:38:41] I mean we're gonna have Poor Things more of like a,

[00:38:43] I guess a comedy but very dark and like unusual thing

[00:38:47] whereas this one, I don't know.

[00:38:49] I don't know the tone that she would be going for.

[00:38:52] I wouldn't imagine a comedy but yeah different.

[00:38:56] Hard to say until we start to see a trailer in the future

[00:39:00] but yeah the film is also going to be starring

[00:39:03] Penelope Cruz, Peter Starrsgard and Annette Benning.

[00:39:07] Wow.

[00:39:08] Okay.

[00:39:09] And the cinematographer is going to be Laurence Shear

[00:39:12] who is also the Joker cinematographer.

[00:39:15] So that, again it's all painting a picture I think

[00:39:19] of a type of tone that this film may be going for.

[00:39:22] We'll see.

[00:39:23] Okay.

[00:39:24] Yeah so I'm curious.

[00:39:26] Like I love my universal monsters stories just as much

[00:39:30] as I love my giant fighting creatures destroying cities.

[00:39:35] But just like those I feel like this has been an area

[00:39:39] where Hollywood hasn't really succeeded in kind of

[00:39:44] adapting some of these stories or doing something

[00:39:46] interesting with these stories.

[00:39:48] So when I hear a unique take with a possible different slant

[00:39:51] storyline but you're trying to adapt these characters

[00:39:53] and something different, I'm always for it.

[00:39:56] The title at least as of right now is just The Bride.

[00:39:59] The Bride.

[00:40:00] So when you first said The Bride I was thinking it was

[00:40:02] something like Quentin Tarantino because that was

[00:40:04] the character that killed Bill was like a graphic novel

[00:40:06] or whatever called The Bride so I thought that's

[00:40:08] what it but nothing to do with that.

[00:40:10] So this just in I am doing some sleuthing

[00:40:13] detective research right here on the fly.

[00:40:15] Nice.

[00:40:16] This might be a key so in this variety article

[00:40:19] which is announcing that this film is happening

[00:40:22] I mean it's been announced for several months but

[00:40:24] this is the first time we've seen like photos

[00:40:26] and like more specifics released.

[00:40:28] The film is referred to as quote The Bride.

[00:40:31] However in the last line of this variety article

[00:40:34] where it says Warner Brothers is set to release

[00:40:37] Jelon Hall's The Bride in this version of the title

[00:40:42] The Bride has an exclamation point at the end.

[00:40:45] The Bride which to me denotes it's going to be

[00:40:48] maybe a little more satirical, maybe a little more

[00:40:51] have a little bit more of a might have more

[00:40:54] of a humorous touch I don't know.

[00:40:56] Now that could be a typo on the variety because

[00:40:59] the rest of the times they refer to The Bride

[00:41:01] in the story it is has no exclamation point.

[00:41:03] The Bride but if you put that exclamation point

[00:41:06] at the end that is that's critical to me

[00:41:08] that is that changes the tone of the film

[00:41:10] right away.

[00:41:11] It is coming out October 2nd 2025 so we're still

[00:41:15] still a ways out a year and a half away.

[00:41:18] I think they've just started filming like the last

[00:41:20] little bit.

[00:41:21] Yeah, I'll show you Chris the photo.

[00:41:23] I know nobody else can see.

[00:41:25] So this is Christian Bale as Frankenstein's

[00:41:29] monster.

[00:41:30] Okay.

[00:41:31] And then down here we have

[00:41:33] Interesting.

[00:41:34] Jesse Buckley as The Bride.

[00:41:37] Okay.

[00:41:38] So you guys go check out Variety's article on this.

[00:41:40] And then with this photo it seems like they could be

[00:41:42] going either way.

[00:41:43] It's very hard to tell what the tone of the film is.

[00:41:46] Satirical or maybe gritty realism.

[00:41:48] Don't know.

[00:41:49] Exactly, don't know yet.

[00:41:50] Okay.

[00:41:51] Interestingly enough, Jalen Hall's The Bride

[00:41:53] I guess isn't the only Frankenstein movie

[00:41:56] that's being made.

[00:41:58] Really?

[00:41:59] Del Toro is currently filming his own

[00:42:02] Frankenstein movie and it's going to be

[00:42:05] starring Jacob Elordi which is from

[00:42:07] Saltburn.

[00:42:08] Yeah, and he was also in Priscilla.

[00:42:10] That's right.

[00:42:11] He'll be playing the monster.

[00:42:13] Del Toro's film is backed by Netflix and features

[00:42:16] Oscar Isaac, Mia Gough, Lars Mikkelsen, Charles

[00:42:21] Dance and Christoph Waltz.

[00:42:23] So, wow.

[00:42:25] Don't know anything dates wise or anything like

[00:42:27] that but you know when a good idea flows

[00:42:29] through Hollywood it tends to happen in

[00:42:31] multiple places in multiple projects so.

[00:42:33] Right.

[00:42:34] That seems to be the rage right now as

[00:42:36] let's do some Frankenstein movies.

[00:42:38] Huh.

[00:42:39] Well, and you know Del Toro's take on

[00:42:41] Pinocchio was definitely unique and very

[00:42:43] Del Toro.

[00:42:44] I'm all on board with Del Toro's

[00:42:46] Frankenstein.

[00:42:47] No that to me.

[00:42:48] I mean he knows how to work if they

[00:42:51] go more of the original storyline it's

[00:42:53] like the gothic feel of it.

[00:42:55] I'm assuming Waltz is going to be

[00:42:57] Frankenstein.

[00:42:58] I mean not Frankenstein's monster but

[00:42:59] Frankenstein.

[00:43:00] I don't know or Oscar Isaac.

[00:43:01] I don't know.

[00:43:02] Yeah, yeah.

[00:43:03] Well definitely.

[00:43:04] Interesting.

[00:43:05] He's curious to see.

[00:43:06] Anyway, so The Bride is coming out in

[00:43:08] October of 2025.

[00:43:10] Still a ways off but just wanted to kind

[00:43:12] of bring that up.

[00:43:13] I hope it is The Bride.

[00:43:14] I kind of do do tell and now I want to

[00:43:16] actually you know what I need to look

[00:43:17] on the IMDb.

[00:43:18] Let me do that really quick.

[00:43:19] You see how they haven't registered?

[00:43:20] I want to see how the film is listed

[00:43:22] officially on the internet movie

[00:43:24] record of.

[00:43:25] And I will say just from a snobby

[00:43:28] lover of movies.

[00:43:30] So I do love movies obviously that's

[00:43:31] why we do the podcast.

[00:43:32] I wish they were a little more

[00:43:35] spaced out.

[00:43:36] So my immediately thought wouldn't

[00:43:38] be oh The Bride is just like poor

[00:43:40] thing.

[00:43:41] Like I wish it wasn't so close on the

[00:43:43] heels of poor things and I wish

[00:43:45] Del Toro's Netflix thing wasn't

[00:43:47] going to be possibly so close on

[00:43:49] the heels of The Bride because

[00:43:51] then in my mind I can't help but

[00:43:53] compare them and say like oh or

[00:43:55] pit them against each other and I

[00:43:57] hate doing that but it's just

[00:43:58] natural.

[00:43:59] So what does that mean?

[00:44:00] Well it's unclear as well.

[00:44:03] It is listed as just The Bride

[00:44:05] No Exclamation Point.

[00:44:06] However they reference an article

[00:44:08] in the IMDb listed related news

[00:44:10] about cast and story and everything

[00:44:13] we know about The Bride of

[00:44:15] Frankenstein remake and it's

[00:44:16] referenced as The Bride with

[00:44:17] an Exclamation Point.

[00:44:18] Nice.

[00:44:19] So I don't know.

[00:44:20] I don't know what it's going

[00:44:21] to be but IMDb has the film

[00:44:23] listed in its synopsis in its

[00:44:25] kind of categories of film as

[00:44:27] drama, horror, romance.

[00:44:30] It doesn't mention comedy, doesn't

[00:44:32] mention satire so it may

[00:44:35] still be going a more serious

[00:44:37] route.

[00:44:38] I definitely get the sense of a

[00:44:40] romance that you're trying to play

[00:44:41] at more of that angle.

[00:44:42] It's like Frankenstein,

[00:44:43] Ramio and Juliet.

[00:44:44] Yeah.

[00:44:45] I don't know.

[00:44:46] It could be interesting.

[00:44:47] Okay.

[00:44:48] Enough on The Bride.

[00:44:49] Let's move on.

[00:44:50] Chris there was a trailer that

[00:44:52] you brought to our attention.

[00:44:53] I have not seen yet.

[00:44:54] Okay.

[00:44:55] For a new film.

[00:44:56] The film is called Janet Planet.

[00:44:58] Do you want to get anything to say about this

[00:45:00] before we see the trailer or just want to

[00:45:02] have a look at it?

[00:45:03] I know very little about it.

[00:45:04] But I did watch the trailer and

[00:45:06] thought it looked good.

[00:45:07] It seems like it's kind of an

[00:45:09] interesting coming-of-age story,

[00:45:11] probably heartwarming.

[00:45:12] But yeah, let's give a listen to the

[00:45:15] trailer.

[00:45:16] All right.

[00:45:17] This is starring Julian Nicholson

[00:45:18] and written and directed by

[00:45:20] Annie Baker which we'll kind of

[00:45:22] follow up on that here in a minute.

[00:45:23] Let's go ahead and watch the trailer

[00:45:24] for Janet Planet.

[00:45:29] Can I hold your hand?

[00:45:32] It's kind of hard for me to fall asleep

[00:45:34] on my holding hands.

[00:45:36] About for a minute.

[00:45:50] You know what's funny?

[00:45:51] What?

[00:45:52] Every moment of my life is hell.

[00:45:56] You actually seem very happy to me

[00:45:58] a lot of the time.

[00:46:00] It's hell.

[00:46:01] I don't think it'll last though.

[00:46:04] I'm actually pretty unhappy too.

[00:46:10] All right.

[00:46:11] I mean, it looks perfectly fine.

[00:46:14] Again, it's one of those trailers

[00:46:15] where I...

[00:46:16] It's going to be hard for me to say

[00:46:18] whether this film works or not.

[00:46:20] It's a film perfectly made for a trailer.

[00:46:22] Absolutely.

[00:46:23] And it's just, you know, it's still going to be...

[00:46:25] The kid has a couple of funny lines.

[00:46:27] Yes.

[00:46:28] It looks charming.

[00:46:29] The mom is able to kind of be the

[00:46:31] straight mom.

[00:46:32] You know, like kind of like put...

[00:46:34] But yeah, the trailer definitely works.

[00:46:36] I'm interested in it.

[00:46:37] It says it's kind of a unique coming-of-age

[00:46:39] thing and I don't know.

[00:46:41] It kind of has like a little

[00:46:42] Miss Sunshine kind of vibe

[00:46:44] except it's a little maybe not as outright

[00:46:46] outlandish.

[00:46:48] I will say that the person playing

[00:46:50] the mom, is that Annie Baker

[00:46:52] or is that the director who's Annie Baker?

[00:46:53] No, no.

[00:46:54] Julianne Nicholson is the star.

[00:46:55] She plays the mother.

[00:46:56] Okay, so the mother's...

[00:46:57] Okay, Annie Baker's the filmmaker.

[00:46:58] Yeah.

[00:46:59] And then Julian...

[00:47:00] Okay, so Julianne Nicholson,

[00:47:02] like I can see this

[00:47:04] possibly being like, okay,

[00:47:06] like I didn't even know her name

[00:47:07] and now it could be like,

[00:47:08] okay, yeah, this may be

[00:47:09] a star-making turn for her.

[00:47:11] Well, what was the film last year

[00:47:13] that lead actress was nominated for

[00:47:16] and it was very much a

[00:47:18] similar tone film.

[00:47:20] But it was like a kind of self-destructive

[00:47:22] woman who...

[00:47:24] She got nominated for Best Actress.

[00:47:26] Like not this most recent,

[00:47:28] but the year before.

[00:47:29] We were talking about Too Leslie.

[00:47:31] Yes, exactly.

[00:47:33] A little bit of that same kind

[00:47:34] of vibe feel to it where it's

[00:47:36] it's going to explore a

[00:47:38] woman and kind of her own

[00:47:41] possible personal failings

[00:47:43] and how she feels about herself

[00:47:45] and effects of other people.

[00:47:47] But this has got also a daughter

[00:47:48] involved, which, you know...

[00:47:50] Which the daughter to me like,

[00:47:52] you know,

[00:47:53] she's...

[00:47:54] It has like the very much like

[00:47:56] the kid, little kid from Jerry Maguire.

[00:47:58] Because it's a cute kid that has

[00:48:00] the ability to kind of do a flat delivery

[00:48:02] that makes it that much funnier.

[00:48:03] But I don't know, could be

[00:48:05] kind of a breakout thing for the little kid.

[00:48:06] Yeah, we'll say again,

[00:48:08] if they perfectly made trailer,

[00:48:10] sure.

[00:48:11] It hits all the parts it needs to

[00:48:13] make a good effective trailer,

[00:48:14] but it's going to just come down

[00:48:15] to like with these films as

[00:48:17] the proof in the pudding. Does it work?

[00:48:19] Sure.

[00:48:20] When it actually hits the screen.

[00:48:21] People would kind of refer to this,

[00:48:23] I imagine is like a Sundancey film

[00:48:25] and like, yeah, this...

[00:48:26] Absolutely, yeah.

[00:48:27] So written and directed by Annie Baker.

[00:48:29] I'm not familiar with Annie Baker

[00:48:31] as a writer or director.

[00:48:33] I'm not sure if you are or not.

[00:48:35] So we'll have to kind of keep an eye out

[00:48:37] for that one. Looks interesting.

[00:48:39] It could be a good one to check out.

[00:48:41] That is coming out

[00:48:43] June 21st.

[00:48:45] Okay.

[00:48:46] So don't think it'll be a wide release

[00:48:48] film, not going to picture that in the

[00:48:50] middle of the summer or going out to all

[00:48:52] the blockbuster.

[00:48:53] Probably.

[00:48:54] But maybe one you have to go to kind

[00:48:56] of a specialty house to see.

[00:48:57] Sure.

[00:48:58] In June, but we will definitely keep

[00:49:00] our eyes out for that one.

[00:49:01] Okay.

[00:49:02] Let's change gears with our second

[00:49:04] trailer, Chris.

[00:49:05] And I'll go and cop up

[00:49:07] that I have not seen

[00:49:09] the two films preceding this one

[00:49:11] in the series of films that this

[00:49:13] would become a part of.

[00:49:14] But Ty West, director Ty West

[00:49:16] has worked on a trilogy.

[00:49:18] He calls this X trilogy.

[00:49:20] And he had two films beforehand.

[00:49:22] One was called X and then one was

[00:49:24] called Pearl, both of them coming out

[00:49:26] in 2022.

[00:49:27] Right.

[00:49:28] Now we have the third one in this

[00:49:30] horror series going horror again.

[00:49:32] So I didn't know we were going to do

[00:49:34] that but that's fine.

[00:49:36] This will be concluding his horror

[00:49:38] series coming out July 5th.

[00:49:40] It is called Maxine, but the X

[00:49:42] and Maxine is a giant capital

[00:49:44] triple X.

[00:49:45] So if you know where that's going.

[00:49:47] Yes.

[00:49:48] It stars Mia goth who was also in

[00:49:50] the previous two films.

[00:49:51] I take it.

[00:49:52] Yes.

[00:49:53] Again, I did not see them but I'm

[00:49:55] assuming from Chris's nodding that

[00:49:57] that's correct.

[00:49:58] And this film also stars Kevin

[00:50:00] Bacon, Bobby kind of Al,

[00:50:02] Elizabeth DeBecchi, Lily Collins

[00:50:04] and Gran Carlo Esposito who

[00:50:06] I really like.

[00:50:07] So yeah, the synopsis of

[00:50:09] the film is that in 1980s Hollywood

[00:50:11] adult film star and aspiring

[00:50:13] actress Maxine Minks finally

[00:50:15] gets her big break.

[00:50:16] But as a mysterious killer stalks

[00:50:18] the starlets of Hollywood, a trail

[00:50:20] of blood threatens to reveal her

[00:50:22] sinister past.

[00:50:23] So

[00:50:24] you look at the sinister past

[00:50:26] of the killer not are they are

[00:50:28] they saying the killer is a her

[00:50:30] her sinister past.

[00:50:32] Okay, Maxine.

[00:50:33] But as a mysterious killer,

[00:50:35] the killer is a killer.

[00:50:37] But as a mysterious killer,

[00:50:39] stalks the starlets of Hollywood,

[00:50:41] a trail of blood threatens to reveal

[00:50:43] her,

[00:50:45] I believe Maxine's

[00:50:47] sinister past.

[00:50:48] Okay.

[00:50:49] It's making it sound like there

[00:50:50] might be a different somebody else

[00:50:51] who's doing some killing

[00:50:53] but in doing so it might be giving

[00:50:55] away some of the knowledge about

[00:50:57] her own past.

[00:50:58] Hmm.

[00:50:59] Okay.

[00:51:00] Again.

[00:51:01] Interesting.

[00:51:02] I've not seen these other films.

[00:51:03] Sure.

[00:51:04] I am relying solely on what

[00:51:05] I think is a little quick little

[00:51:07] write up here.

[00:51:08] So

[00:51:09] And we have a trailer.

[00:51:10] We do have a trailer.

[00:51:11] Okay, so before we show the trailer

[00:51:12] let me give a little

[00:51:13] a primer.

[00:51:14] Okay.

[00:51:15] Are you Alan?

[00:51:16] Yes, sure.

[00:51:17] Our listeners I'm assuming if

[00:51:18] you're even vaguely interested in

[00:51:19] this you've seen the other two

[00:51:20] films.

[00:51:21] So

[00:51:22] X did come out first

[00:51:23] but X was basically the story of

[00:51:24] a bunch of people who went to

[00:51:25] a farmhouse and were

[00:51:26] set to make like a

[00:51:27] indie

[00:51:28] porno film and she was an

[00:51:29] aspiring actress

[00:51:30] who was there.

[00:51:31] Things went wrong.

[00:51:32] Lots of people died.

[00:51:33] Okay.

[00:51:34] So I think that's why I'm

[00:51:36] doing like a Texas Chainsaw

[00:51:38] Masker type thing.

[00:51:39] I liked it.

[00:51:40] Okay.

[00:51:41] Pearl which came out second,

[00:51:43] same year as you were saying

[00:51:44] was technically a prequel.

[00:51:46] Right.

[00:51:47] And you learned the people

[00:51:48] whose farmhouse they rent

[00:51:50] or whatever.

[00:51:51] You learn kind of the

[00:51:52] background of some of the

[00:51:53] characters of the people that

[00:51:54] are in the farmhouse or

[00:51:55] specifically Pearl.

[00:51:57] And it had this like

[00:51:59] Wizard of Oz color palette

[00:52:01] they were going for.

[00:52:02] It was just this really

[00:52:03] weird which I admired going

[00:52:05] weird but to me overall it just

[00:52:07] wasn't effective.

[00:52:08] Okay.

[00:52:09] However, I will say a lot of

[00:52:11] people commented and gave her

[00:52:12] credit Mia Gauth for this

[00:52:14] speed basically like a monologue

[00:52:16] that she does staring at the

[00:52:18] camera.

[00:52:19] She plays Pearl in this prequel

[00:52:21] which is kind of odd because

[00:52:22] she played Maxine obviously

[00:52:23] in X.

[00:52:24] But anyways she gives kind of

[00:52:26] a monologue to the camera

[00:52:28] and goes through all these

[00:52:29] like nude shifts and it's

[00:52:30] pretty incredible.

[00:52:31] A lot of people were

[00:52:32] actually saying like she should

[00:52:33] have been nominated for a horror

[00:52:34] movie probably not but like

[00:52:36] they were that impressed with

[00:52:37] that performance.

[00:52:38] So bring forward to this movie

[00:52:40] where she and they kind of teased

[00:52:41] that yeah it was going to be a

[00:52:43] trilogy and that this was

[00:52:44] going to follow her to Hollywood

[00:52:46] as she continues to try to be a

[00:52:47] star so.

[00:52:48] Well, it looks like that's

[00:52:49] where we are then.

[00:52:50] Cool.

[00:52:51] Let's take a look at the

[00:52:52] trailer for Maxine.

[00:52:54] So Maxine your agent tells us

[00:52:58] you're quite a popular name

[00:53:00] in adult film and entertainment

[00:53:02] is that correct?

[00:53:06] I'm curious did you always

[00:53:07] want to be in that line of work?

[00:53:09] I always wanted to be famous.

[00:53:14] If you need to read off the

[00:53:15] sides we gave you just go ahead

[00:53:17] alright?

[00:53:18] I know the lines.

[00:53:19] She turns to the camera and

[00:53:21] through her trauma addresses

[00:53:23] the lens directly.

[00:53:30] Okay, so that is the trailer

[00:53:33] for Maxine which is again

[00:53:37] the X in the middle triple X

[00:53:39] all caps.

[00:53:40] So Chris you I don't feel like

[00:53:42] I can really I mean the trailer

[00:53:44] this movie looks and I saw your

[00:53:46] eyebrows raised at one particular

[00:53:48] point you're like whoop it

[00:53:50] showed a kind of a back lot area

[00:53:52] Oh right yeah and you were

[00:53:53] like do what?

[00:53:54] Yeah that was okay film looked

[00:53:56] really interesting.

[00:53:57] I'm very curious about it but

[00:53:58] again I want to hear from your

[00:53:59] perspective haven't seen the other

[00:54:00] two is this?

[00:54:01] So I really liked X

[00:54:03] even though I didn't you know

[00:54:04] tour movies aren't normally my

[00:54:06] jam but I really liked X.

[00:54:08] Pearl was a let down for me

[00:54:10] I was disappointed thought I had

[00:54:11] potential but was disappointed

[00:54:13] I think I'm going to be a fan

[00:54:15] of Maxine I actually was not

[00:54:17] excited when I heard there was

[00:54:18] going to be a third film like

[00:54:19] I just kind of kind of done

[00:54:22] with it but the scenes that

[00:54:25] it shows of kind of Hollywood

[00:54:26] back lots and how it's

[00:54:28] self-aware and name drops like

[00:54:30] stars and all this kind of stuff

[00:54:31] it's like okay in the whole

[00:54:33] that's why I was trying to

[00:54:35] clarify from what you said in

[00:54:36] the beginning okay are they

[00:54:37] alluding to her past or the

[00:54:39] killer's past but yeah

[00:54:42] it's kind of like I don't know

[00:54:43] there's a lot of ambiguity there

[00:54:44] the trailer kind of hits at

[00:54:45] the same thing but yeah it

[00:54:47] looks like there's a lot going

[00:54:48] on but it's also a lot going

[00:54:49] on kind of poking fun at

[00:54:52] Hollywood I don't know

[00:54:54] I'm interested in it so yeah

[00:54:56] no I'm on board now so I think

[00:54:58] that looks good

[00:55:00] will you see the other two

[00:55:02] you know I might actually

[00:55:04] I've become more kind of curious

[00:55:06] about this series in general

[00:55:08] and like what they're looks like

[00:55:10] they're doing with this third one

[00:55:11] so yeah and I'm not going to go

[00:55:13] into it not watching the other

[00:55:14] one so I would say you at

[00:55:15] least need to watch Max or

[00:55:17] Max yeah that's the one yeah

[00:55:19] well this is a film that is

[00:55:21] coming out let's see here

[00:55:23] very very soon really

[00:55:25] I'm not going to let it come out

[00:55:26] later towards Halloween that's

[00:55:28] always July 5th wow

[00:55:31] right I mean just a couple months

[00:55:33] away so huh interesting yeah

[00:55:35] July 5th this will be coming out

[00:55:37] that is the film Maxine

[00:55:39] Color us intrigued intrigued

[00:55:42] yeah so I think that will be

[00:55:44] that will be good all right

[00:55:46] so Chris that wraps us up

[00:55:48] for today so we talked about

[00:55:50] the bride or the bride

[00:55:52] depending on which news article

[00:55:54] you read about this we

[00:55:56] watched the trailer for Janet Planet

[00:55:58] coming out I think that was in

[00:56:00] July also I think soon yeah

[00:56:02] and then Maxine coming

[00:56:04] out definitely in July

[00:56:06] so we talked about that as well as of course

[00:56:08] our initial review of Monkey Man

[00:56:10] wish I could say we were more

[00:56:12] positive on it but we definitely

[00:56:14] see potential and

[00:56:16] still want to see what Mr.

[00:56:18] Dev Patel wants to work on next work

[00:56:20] we're interested this film

[00:56:22] just didn't quite work for

[00:56:24] either of us as well so

[00:56:26] Chris if anybody wants to follow up with us

[00:56:28] on anything we're talking about here today

[00:56:30] how can they do that you can send an email

[00:56:32] to info at footcandle.org

[00:56:34] you can follow us on Twitter at Foot Candle Film

[00:56:36] Facebook we're simply Foot Candle Film Society

[00:56:38] Instagram and Threads Foot Candle Film

[00:56:40] Alan and I are also on Letterbox

[00:56:42] where we try to track what we're seeing

[00:56:44] and leave quick takes do us a favor

[00:56:46] give us a star rating right review share

[00:56:48] or service you receive your favorite podcast on

[00:56:50] because it'll help us reach new listeners

[00:56:52] we'd appreciate it as I kind of alluded to

[00:56:54] at the beginning of the show

[00:56:56] Foot Candle Film Festival very important to us

[00:56:58] I mean you can probably guess

[00:57:00] from the name of the podcast but it's going to be September 20th

[00:57:02] through the 28th

[00:57:04] consider coming to

[00:57:06] Western Court in North Carolina during this time

[00:57:08] and check us out which is going to be our 10th

[00:57:10] annual film festival we think it'll be a

[00:57:12] good one

[00:57:14] yeah great well we are definitely looking forward

[00:57:16] to that festival coming up this fall

[00:57:18] and we will be back

[00:57:20] next week with another episode with another

[00:57:22] movie review I think we're planning

[00:57:24] on reviewing

[00:57:26] what was the film Civil War

[00:57:28] oh right right Civil War

[00:57:30] Civil War coming out this weekend we will be discussing

[00:57:32] that on our next week's episode

[00:57:34] so we'll look forward to that as well

[00:57:36] as any other news or trailers

[00:57:38] that have come up in the meantime or if Chris

[00:57:40] decides that he wants to grace us again

[00:57:42] with one of his recommendations we will wait and see what happens

[00:57:44] next week thanks everybody for listening

[00:57:46] and we'll look forward to talking to you next time

[00:57:48] take care see you in the ticket bond

[00:58:14] watch films out of the reverence

[00:58:16] of the heritage of an art

[00:58:18] watch films through the courtesy

[00:58:20] of foot kids

[00:58:22] no film

[00:58:24] society

[00:58:26] special thanks to

[00:58:28] Carpal Tuller for the show theme music

[00:58:30] for more about Carpal Tuller

[00:58:32] visit www.carpaltuller.com

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