WEBVTT 00:01.440 --> 00:04.760 So, uh, so how's the family, man? Oh, you didn't know? 00:05.260 --> 00:07.420 Of course you don't know. No, yeah, yeah, yeah. Yeah, my parents are divorced. 00:07.720 --> 00:10.800 They got divorced? Yeah, my dad's shacking up with this woman. 00:11.300 --> 00:13.500 She's like 20 years younger than him. She's like a biscuit older than me. 00:14.000 --> 00:17.280 It's ugly. My mom's making ceramic nightlights. Takes like the plane shells 00:17.780 --> 00:20.150 and paints them. How's your sister? Did she ever marry that guy Kenny? 00:20.380 --> 00:22.650 Kenny? Yeah, I mean, did that ever work out? 00:23.440 --> 00:26.920 Come on, man. He did 3 years at Joliet. They put one of those 00:27.420 --> 00:30.020 bracelets on him, like a LoJack, you know? They know where he is at all 00:30.520 --> 00:33.260 times. I think he's at Pizza Hut right now. Let's not go there. No, 00:33.760 --> 00:36.920 we won't. Yeah. Yeah. So you look good. You seem good. Thank you. You may 00:37.420 --> 00:40.680 have, uh— 10 years, man! 00:41.180 --> 00:43.930 10! Where have you been for 10 years? 00:45.180 --> 00:49.480 I freaked out, joined the Army, 00:49.980 --> 00:52.750 went into business for myself. I'm a professional killer. 00:53.880 --> 00:56.840 Oh, does that— do you have to do postgraduate work for that, or can you 00:57.340 --> 01:00.820 jump right in? I'm curious about that. It's an open market. Open market. That's good. 01:01.600 --> 01:05.790 Wow. 10 years, man! 10, 10 years. 01:06.450 --> 01:10.734 10 years. 10, 10 years. 01:10.798 --> 01:14.110 10 years. I freaked out. I joined the Army. 01:15.918 --> 01:19.056 I worked for the government. I went into business with myself. I'm a professional 01:19.089 --> 01:22.567 killer. That's what I did. Okay, well, can I join up? 01:23.260 --> 01:27.035 Yes. It's 2 Dads 01:27.131 --> 01:30.618 1 Movie. It's the podcast where 2 middle-aged dads sit around 01:31.118 --> 01:33.424 and shoot the shit about the movies of the '80s and '90s. Here are your 01:33.924 --> 01:37.005 hosts, Steve Paulo And Nic Briana. 01:39.260 --> 01:42.814 Hello, everybody. Welcome to another episode of 2 Dads, 1 Movie. I'm Steve. 01:42.879 --> 01:46.885 And I'm Nic. And today we're talking about the 1997 John Cusack crime 01:47.144 --> 01:51.008 action comedy romance, Grosse Pointe Blank. This one 01:51.041 --> 01:54.436 was my pick for us, uh, the last of our picks before we get into 01:54.936 --> 01:57.368 our theme months, which is going to be a lot of excitement and stuff. 01:57.417 --> 02:00.355 Yeah, I can't wait. I mean, it's gonna be great. I just love the idea. 02:00.420 --> 02:03.732 I do like freelance time. There is freestyling. It's been fun 02:03.749 --> 02:06.740 these last Couple months, you know? I've noticed a lot of my picks that we 02:06.756 --> 02:08.984 were talking about before the pod, like a lot of my picks, boy, I'm kind 02:09.080 --> 02:12.126 of hitting Steve's greatest hits. And I seem to love everything 02:12.626 --> 02:15.733 I'm bringing because it's like you go from 2 Dads 2 Decades and, you know, 02:15.749 --> 02:19.003 Shocktoberfest is coming. And so in between it's like, oh, I got to jam in 02:19.503 --> 02:21.792 a couple of these ones I've been really meaning to do. Totally. And like for 02:21.905 --> 02:25.880 every movie that we pick, I'm sure this happens for you, there's 15 other ones 02:25.912 --> 02:28.926 that I like wanted to also put in that place. 100%. 02:29.278 --> 02:33.126 So yeah, this has been really fun. Yeah, so, but before we get to next 02:33.626 --> 02:36.220 week and the start of October, we've got one more movie to do. We're doing 02:36.252 --> 02:39.426 Grosse Pointe Blank. For my part, this is actually, 02:39.442 --> 02:42.632 this movie actually holds like a pretty fun kind of part of my memory. 02:42.744 --> 02:45.902 So this came out in spring of '97. We were juniors in high school. 02:46.015 --> 02:49.638 Mm-hmm. I took a girl to this movie like as a 02:50.138 --> 02:53.036 date. She was my date to junior prom. She was actually a year behind us. 02:54.351 --> 02:56.691 You know, it was just like the kind of thing where I thought we were, 02:56.820 --> 03:00.080 more than just friends, which she didn't. But she was very cool about it, 03:00.580 --> 03:04.260 so we stayed friends through high school, even though I was trying to date her, 03:04.760 --> 03:07.100 and she was like, you're really nice. And it's OK, I get it. Not everybody's 03:07.600 --> 03:09.920 for everybody. But it was a really great time. We both loved this movie. 03:10.420 --> 03:12.980 It was a good movie to go see on a date and then go get 03:13.480 --> 03:16.040 coffee after and just talk about, because there was so much to talk about. 03:16.220 --> 03:19.270 And it was like a romance without too much, 03:19.640 --> 03:23.360 um... It wasn't like— It's not a sappy romance. That, and it's not fucking Basic 03:23.860 --> 03:26.160 Instinct. I didn't take her to an erotic thriller that you get hella uncomfortable. 03:26.300 --> 03:28.896 You know what I mean? It was like the right tone, I think. I think 03:29.396 --> 03:32.536 for like teenagers on a date. No beaver flashes. Yeah, nothing, nothing too wild. 03:32.600 --> 03:35.134 So, uh, so yeah, so my history with Grosse Pointe Blank is that. And then 03:35.631 --> 03:38.389 this is also a movie that I, I have this— to me, there's in my 03:38.889 --> 03:42.270 mind this, um, this pair of movies that, that really interact with each other in 03:42.302 --> 03:45.509 John Cusack's history. Maybe it's even 3, but the music thing kind of 03:46.009 --> 03:49.358 seals it as 2. This movie and, uh, High Fidelity were like 03:49.858 --> 03:53.335 hugely impactful to me, uh, from like a music standpoint and from 03:53.447 --> 03:56.980 just like storytelling and stuff through college. Both movies that I absolutely adore, 03:57.000 --> 04:00.960 and the soundtrack on this is like legendary. Impactable. It's great. 04:01.460 --> 04:04.140 So that's my history with Gross Point Blank. What about you, Nick? Yeah, I saw 04:04.640 --> 04:08.580 this when this was out in the theaters, and I feel like this was at— 04:09.080 --> 04:10.800 I don't know what your memory is like. I feel like this was at the 04:11.300 --> 04:13.400 Crow Canyon Theater. It sounds right to me. Not at the theater that I worked 04:13.900 --> 04:16.200 at, because I would have seen it a lot more. Right, there you go. 04:16.700 --> 04:20.480 Because even just like going in to like check on things, you know, 04:20.980 --> 04:23.290 and catching a song or two, like there's so many good things in this movie. 04:23.460 --> 04:25.500 So I believe I saw it in the theater there, and then again on video. 04:27.496 --> 04:29.954 And then it kind of dropped out of my memory for a long time. 04:30.002 --> 04:33.215 Like, this isn't a movie that kind of like bubbles back up to the surface 04:33.715 --> 04:37.183 when Netflix releases a new string of movies from the '90s or whatever. 04:37.231 --> 04:40.027 Like, you just don't see it promoted that much. Yeah. 04:41.263 --> 04:44.203 So it kind of dropped out of my mind and I didn't think much about 04:44.703 --> 04:47.545 it. I do listen to the songs a lot and I still have my CDs. 04:47.673 --> 04:51.063 Shout out physical media. And I got both volumes 04:51.563 --> 04:54.645 of the soundtrack back in the day. They released a second volume after the fact. 04:54.902 --> 04:58.388 Probably could have released a third. Might have been clearance issues with a couple of 04:58.420 --> 05:01.809 the bigger songs. But yeah, this movie I remember liking at the 05:01.873 --> 05:04.828 time, and I was really excited that you picked it because I haven't seen it 05:04.860 --> 05:08.876 in a while. And I'm like, dude, was I just like 17 and 05:09.376 --> 05:11.510 the stuff I thought was cool back then is no longer cool to me? 05:11.751 --> 05:15.108 Or is this a fucking classic? Yeah, John Cusack's the man. 05:15.220 --> 05:18.513 We'll find out. We'll get into it for sure. I will say too, this is 05:19.013 --> 05:22.623 a movie— or the soundtrack of this movie Really suffers, as many do from 05:23.123 --> 05:25.960 this era, from not really being on streaming because the way that the rights clearance 05:26.460 --> 05:29.442 work. Yeah, you know, there are these soundtracks like this, like Dazed and Confused. 05:29.506 --> 05:32.699 There's a bunch of movies that had really impeccable, crazy good soundtracks, but you 05:33.199 --> 05:36.261 can't find that album, that like OST album, on like Spotify 05:36.761 --> 05:39.149 or Apple Music or whatever because of rights clearances and these different things. So if 05:39.197 --> 05:42.984 you don't have a physical copy of this soundtrack, 05:43.048 --> 05:46.033 there's a song in particular that I will point out partway through the movie because 05:46.533 --> 05:48.600 it is my favorite song on the soundtrack, and it is not, as far as 05:49.100 --> 05:52.340 I can tell, Available on any streaming service I have had access to, and it 05:52.840 --> 05:56.641 cannot wait. So we'll get to that before listening to like the soundtrack 05:56.770 --> 06:00.205 playlist is just kind of a bummer. Like we seriously 06:00.237 --> 06:03.672 were listening to this last night because my wife and I watched this movie together 06:04.172 --> 06:07.187 a couple days ago, so we're into it, and it was like it's not it's 06:07.235 --> 06:11.296 not same. Yeah, because usually it's like it's it's like whatever particular 06:11.796 --> 06:15.212 recording or version the music supervisor chose to put into the movie 06:15.565 --> 06:19.145 is not is not always the like album cut. Right. From that artist, right? 06:19.193 --> 06:21.537 You know, so it may not be a version that's easy to find as well. 06:21.810 --> 06:23.640 Yeah. And that's the thing I think maybe is what it is, that I have 06:23.656 --> 06:26.770 never been able to find this version of this song, which I'm continuing to tease, 06:27.188 --> 06:30.206 uh, uh, on, on streaming. But, but we'll see. Heck yeah. Uh, 06:30.398 --> 06:33.673 let's jump into the facts on Grosse Pointe Blank. The film came out on April 06:33.705 --> 06:37.414 11th, 1997 with an R rating and a running time of 107 06:37.462 --> 06:40.528 minutes. It was directed by George Armitage and written by Tom 06:41.028 --> 06:44.381 Jankovich, D.V. De Vincentis, Steve Pink, and John Cusack. 06:44.958 --> 06:48.678 Starring John Cusack, Minnie Driver, and Dan Aykroyd. Scores on Rotten Tomatoes, 06:48.791 --> 06:52.190 82%. Nice and solid. IMDb, a 7.3, 06:52.222 --> 06:55.910 right in that good category. We get a thumbs up from Roger 06:55.926 --> 06:58.700 Ebert, but this was at the point where Gene Siskel was not reviewing everything. 06:58.972 --> 07:02.227 We don't have a thumb either direction. We have just a— just getting 07:02.323 --> 07:05.803 fisted. Just a closed fist. Siskel fist. Yeah. So we 07:06.303 --> 07:08.962 got Siskel fist. We got nothing either way. No major awards that I could find. 07:09.010 --> 07:12.249 There was, there was a handful of sort of critics awards and things, but nothing 07:12.281 --> 07:15.859 major. On a $15 million budget, it pulled in $31.1 07:15.971 --> 07:18.666 million at the box office. At least $20-ish of that was mine, 07:19.806 --> 07:23.544 uh, for 2.1 times what it cost. Uh, but yeah, those are the facts 07:23.657 --> 07:26.641 on Grosse Pointe Blank. All right, well, Steve, you want to, 07:26.866 --> 07:30.155 you want to start us off? How do we get into the Grosse Pointe Blank 07:30.655 --> 07:33.990 universe? We start off on Martin Blank. He is on the phone, he is assembling 07:34.086 --> 07:37.776 a rifle, and he clearly is in like a hotel room. Um, in my mind, 07:37.809 --> 07:40.119 this is in San Francisco, but I don't know that we get a deliv— an 07:40.619 --> 07:43.919 explicit like, thing that that's where we are. But it's like the hill and the 07:43.951 --> 07:46.467 way that the hotel— you know, it's almost like could have been outside the Sir 07:46.967 --> 07:50.586 Francis Drake or something, or, or, you know, something similar. But basically, uh, he's on 07:50.634 --> 07:53.872 the phone talking to his assistant but also preparing 07:53.984 --> 07:57.526 to foil a hit, right? Which is an interesting thing. So he's a hitman, 07:57.558 --> 07:59.963 he's a hired killer, but the person that he has been hired to kill in 07:59.995 --> 08:03.248 this particular instance is a man who has been hired to kill someone 08:03.344 --> 08:06.245 else, right? Doesn't always work out that way, but that was, that was sort of 08:06.745 --> 08:08.986 the way that this worked out. So it's this really great scene. I love when 08:09.034 --> 08:12.641 he is like training, you know, he sees the, the would-be assassin coming down 08:13.141 --> 08:15.639 the hill on a bicycle as the target for that person is stepping out of 08:16.139 --> 08:18.492 a hotel across the street from him. And the way that he like looks out 08:18.992 --> 08:22.275 one window and like tracks the man's speed, and then as he 08:22.775 --> 08:24.471 gets to the other window where he couldn't possibly see him for a while, 08:24.760 --> 08:28.078 he's immediately lined right up on it. It's such a neat little detail. 08:28.206 --> 08:31.749 They, they did a lot to show his like crazy expertise. 08:31.797 --> 08:35.211 So much competence. Yeah. Uh, yeah. And then I do want to 08:35.259 --> 08:38.081 point out, as we will throughout this movie, I mean, it starts off with a 08:38.145 --> 08:41.367 banger music-wise, like a Black Sleen, is that I Can See Clearly 08:41.867 --> 08:45.117 Another Day. rain is gone. Not the Brady Bunch version, so nobody's going, sunshiny day 08:45.357 --> 08:48.707 now, but, uh, great song to kick it 08:49.207 --> 08:52.280 off. Missed opportunity though on that Brady Bunch thing. I know, 08:53.210 --> 08:57.344 an all Brady Bunch soundtrack on a non-Brady Bunch movie. 08:57.841 --> 09:00.838 Brady Bunch covering Violent Femmes. Let's do that. Like, 09:01.142 --> 09:04.908 blister in the sun, let me go out. Greg Brady, definitely lots 09:05.408 --> 09:09.556 of blisters in the sun once he got his own bedroom. Um, so during this 09:10.056 --> 09:14.252 time that, that Marty is, uh, he's like watching 09:14.268 --> 09:17.297 the guy, he's trying to take out this assassin, he's on the phone with his 09:17.329 --> 09:21.160 secretary, played by Joan Cusack. Unbelievable in 09:21.660 --> 09:24.670 this movie. So amazing. She is just Robert Orie, 09:24.782 --> 09:27.635 just like hitting 3s at the correct times throughout this film. 09:28.292 --> 09:31.562 And, uh, and she's kind of like going through his mail with like— it's very 09:31.578 --> 09:35.521 funny, they go between very serious life and death situations 09:36.021 --> 09:38.825 and Oh, here's some junk mail that came for you, right? Yeah, yeah, yeah. 09:38.953 --> 09:42.738 And, uh, so he gets an invitation to his 10th, uh, his 10th high school 09:43.238 --> 09:45.337 reunion. Yeah. And it's— and I just want to like pause for a second here 09:45.837 --> 09:48.448 because I think it bears mentioning or pointing out, or like, 09:48.576 --> 09:52.009 just the premise of this movie is so solid 09:52.025 --> 09:55.602 gold brilliant. Yeah. Like, just the idea, what if a hitman 09:55.714 --> 09:58.922 went to his 10-year high school reunion? That's all it takes. That's, that's the 09:59.002 --> 10:02.354 elevator pitch that I bet sold this movie. Yeah. That's all it took because 10:02.386 --> 10:05.836 that is such a cool concept. It had never been done to this 10:06.336 --> 10:08.967 point. It can never be done again because it'll just be like, well, that's Grosse 10:09.467 --> 10:12.420 Pointe Blank. Like, you know, even if you, you know, made the character's wound different 10:12.920 --> 10:15.053 and put it in a different place and like all this stuff, it wouldn't matter. 10:15.374 --> 10:18.264 You could do this movie again and just shift all the music to like, 10:18.345 --> 10:21.716 at this point, you know, the, the teens or whatever. Yeah. Or whatever. It's kind 10:22.216 --> 10:25.169 of a different time, but it wouldn't make any sense. The, the, the brilliance of 10:25.185 --> 10:28.219 this is its simplicity. So yeah, and we get it right away because we immediately 10:28.719 --> 10:31.668 know this man's a hired killer, or at least I mean, look, he's wearing all 10:31.684 --> 10:35.322 black and he's firing from a hotel room. He's clearly an assassin, right? And then 10:35.354 --> 10:37.838 he's on the phone about this thing. So it's like immediately we understand what this 10:38.338 --> 10:41.363 movie's about, which is so great. Gets right into it. This is not get them 10:41.379 --> 10:44.584 to the mall within 10 minutes, mall rats thing. This is like, we know within 10:45.084 --> 10:47.437 10 seconds what this movie is about in a lot of ways. 10:48.110 --> 10:51.475 But Martin has a problem, which is that as he, you know, 10:51.619 --> 10:55.081 and he literally tells his secretary, hold on a second, like I'm working or whatever, 10:55.097 --> 10:58.421 you know? He shoots the would-be assassin, the man he's been hired to kill, 10:59.321 --> 11:02.759 and the bodyguards for that person's target join in and are bang, 11:02.791 --> 11:05.281 bang, bang, bang. So there's a whole bunch of mess on the street, but Martin's 11:05.781 --> 11:09.682 done his job. Problem for him is dressed as a doorman just behind a column 11:10.182 --> 11:14.020 near the front of the hotel is sort of the second male lead, 11:14.036 --> 11:17.538 the third lead of this movie, Dan Aykroyd, playing a character we know only 11:17.570 --> 11:21.072 as Grocer. And he has a couple of very 11:21.104 --> 11:24.414 large hand cannons, like big, Magnum revolvers. 11:24.512 --> 11:28.168 Yeah, double guns, everybody. He shoots everybody, makes sure he empties the clips completely, 11:28.900 --> 11:32.223 whatever, throws the guns down, like just leave the murder 11:32.723 --> 11:35.175 weapons, and heads off. I mean, this is like, you know, no fuss, no muss 11:35.288 --> 11:38.821 kind of thing. Yeah. So yeah, and which Martin witnesses and is 11:38.853 --> 11:41.639 like, Goddamn. And he's just like, ah, son of a bitch. 11:42.138 --> 11:46.952 Like, so he ends up meeting— 11:47.693 --> 11:51.236 he goes out like to, you know, parks his car in this remote area or 11:51.736 --> 11:55.323 whatever outside the city, and he meets the Dan Aykroyd character, Grocer, that he wanted 11:55.823 --> 11:59.633 to meet. And whenever they meet each other, it's funny because like 2 professional killers 11:59.729 --> 12:03.831 meeting each other who know how the game works, yes, are like extra cautious, 12:03.975 --> 12:07.757 and they play it so hilariously in this. It's like they're mirroring each 12:08.257 --> 12:11.266 other. Well, it's this combination of like, I'm gonna keep my hands where you can 12:11.298 --> 12:14.054 see them so that you keep your hands where I can see them, but I'm 12:14.150 --> 12:16.858 also going to have my hands in the position where if you try to fucking 12:16.874 --> 12:19.553 do something, I'm gonna be able to reach my gun or knife or whatever. 12:19.617 --> 12:22.987 And so this— yeah, this is very, uh, stilted sort of movement 12:23.487 --> 12:26.341 that they— Yeah, and like the ends of their fingers are always twitching a little, 12:26.357 --> 12:29.630 you know, like a— like an Old West, uh, cowboy about 12:30.130 --> 12:33.032 to like reach for his revolver, you know. Um, every day is the O.K. 12:33.096 --> 12:36.305 Corral. Oh man. Uh, so, so it's really 12:36.805 --> 12:39.258 great. And the thing that Grosser brings up in this is like, hey, you know, 12:39.274 --> 12:43.093 shit like yesterday happens because we're not coordinated. 12:43.189 --> 12:46.688 He's kind of trying to get— yeah, uh, Marty and these 12:46.800 --> 12:50.877 other assassins, you know, the guys that have the similar job, to like unionize 12:50.990 --> 12:53.815 in effect, or just kind of, hey, we gotta work together, like, 12:54.040 --> 12:57.314 what's going on here? Right, and he points out like this specifically, right? He's like, 12:57.395 --> 12:59.818 I got booked to do the opposite of the job you got booked to do. 12:59.915 --> 13:03.559 If, if, if we had been working together, we could have like made sure nobody 13:03.655 --> 13:06.737 did that second job, or vice versa, whatever it is, whichever, you know, in his 13:06.785 --> 13:09.980 mind, I'm sure whichever one paid better, make sure that one gets done. Um, 13:10.236 --> 13:13.640 and, and, you know, Marty is basically just like, no, I, I, the whole 13:13.688 --> 13:17.780 point of this life is to not fucking I can't trust anybody. 13:18.280 --> 13:20.680 And don't want to. I like— like, the lone wolf is like the whole point. 13:21.180 --> 13:23.030 Like, I don't want to fucking deal with anyone. I don't go to meetings. 13:23.380 --> 13:26.240 I don't want a union. I don't want fucking healthcare. Like, fuck off. Yeah. 13:26.740 --> 13:29.780 If I liked barbecues and stuff, like, I would work in insurance. Like, I do 13:30.280 --> 13:33.610 this because— so, so he doesn't want to do it. 13:33.660 --> 13:37.480 And then so he's kind of back and forth on the phone now with 13:37.980 --> 13:41.440 his secretary. What's her character's name again? Marcella, I think. I can't 13:41.940 --> 13:45.140 remember now. I always think of her as just Joan Cusack. All right, we'll use 13:45.640 --> 13:46.180 it. We respect you, Joan. Has nothing, nothing against you. 13:49.039 --> 13:52.072 And you know they're kind of talking again about this ten-year reunion, 13:52.586 --> 13:55.202 and he asked her, he's like, "Well, did you go to yours?" And she was 13:55.218 --> 13:58.203 like, "Yeah, it was just as if everyone had swelled." Yeah, 13:59.262 --> 14:02.873 she has some really funny lines. She really does. It's really good stuff. But but 14:03.373 --> 14:05.891 he basically says, "Don't tell me. Don't talk to me about the skin. Burn it, 14:05.971 --> 14:09.133 right?" Yeah. And and now he's got another job to do. So we kind 14:09.633 --> 14:12.583 of cut to like an indeterminate amount of time later, and this is such a 14:13.083 --> 14:16.067 neat thing. He's got this. Uh, sort of like a, like a, uh, honestly, 14:16.083 --> 14:18.715 it's the kind of scope they'd use maybe on like a colonoscopy, like a really 14:18.747 --> 14:22.359 tiny camera on a huge, you know, like thing that he's able to drop 14:22.859 --> 14:26.404 down like through ventilation into a guy's hotel room where he's sleeping so that he 14:26.904 --> 14:30.112 can see really close to the man's mouth. And then this like long wire and 14:30.144 --> 14:33.339 this like poison basically. And it's like, and it's so cool. It's like a— The 14:33.515 --> 14:36.950 way it plunges down the wire. Yeah, it's neat. It's a great— and 14:37.450 --> 14:40.530 I have never seen this in another movie, and I've watched a million movies with 14:40.562 --> 14:44.320 shit like this, you know. So shout out, like, every time you see that happen, 14:44.336 --> 14:47.612 you're like, hell yeah. There are so many. And there's other little— there's so 14:48.112 --> 14:51.273 many little things this movie does right that I don't know if they're right. 14:51.337 --> 14:53.104 Like, I don't know if anybody would ever try to kill someone this way. 14:53.184 --> 14:56.380 Obviously, I'm not— I don't know. But it seems plausible and it's unique 14:56.460 --> 14:59.254 and I haven't seen it before. So it like totally checks all the boxes, 14:59.367 --> 15:02.916 you know? It's really cool. Unfortunately for him, his target like 15:03.285 --> 15:07.203 sort of snorts and moves his face to the side as soon as that poison 15:07.235 --> 15:10.238 drops. So now it drops on his face. It wakes him up. He has to 15:10.367 --> 15:13.643 run downstairs. kick in the door and shoot 15:14.143 --> 15:16.998 the guy. And he kind of shoots him in the stomach first and then goes 15:17.030 --> 15:19.615 to finish it off. And the guy says, you know what, whatever, whatever I did 15:19.679 --> 15:21.847 that you want, or whatever I'm doing you want me not to do, I'll stop 15:22.347 --> 15:24.737 doing. And he goes, it's not me. And this is the first of like, 15:24.962 --> 15:28.301 I think, 3 different runners, at least 2 different runners. It's not 15:28.414 --> 15:30.854 me is a big one. Mm. Uh, and then I think the other one we'll 15:31.354 --> 15:32.813 see later, but the, you know, hey, you're a handsome devil, what's your name? 15:32.861 --> 15:35.960 Like, right? And I love these callbacks and runners that the writers do in this 15:36.460 --> 15:38.736 movie. Um, this really is like, I'm I'm going to be saying it the entire 15:38.785 --> 15:41.544 episode. Just get used to it. This is one of the best screenplays of a 15:42.044 --> 15:44.897 movie we've watched. I can't believe that it didn't get any sort of awards activity. 15:44.945 --> 15:47.913 It's because it's a— it's because it's an action comedy. Yeah, it's not in the 15:48.413 --> 15:50.993 right tenor or genre for a lot of the like writing awards that are out 15:51.493 --> 15:54.041 there. But I thought that the screenplay for this, I could tell just by watching 15:54.541 --> 15:58.340 it like how well put together it is. Like the way that they do callbacks, 15:58.356 --> 16:01.468 the way that they refer to things throughout, the way they set things up and 16:01.968 --> 16:05.143 pay them off is all like so incredibly clean. It's like really Really impressive, 16:05.256 --> 16:08.565 and that's the first of that runner. Yeah, it's it's weird. It might be 16:08.693 --> 16:12.018 you know another symptom of how were we supposed to market this movie? 16:12.066 --> 16:15.745 Like we talked about with Princess Bride, where it's like it's great looking 16:15.857 --> 16:19.439 back at it, but at that time, like it's so different. How do you even 16:19.536 --> 16:22.957 push it? Yeah, I mean, they should have fucking figured it out. I remember the 16:22.989 --> 16:26.539 way they advertised this movie. They advertised it as a romantic 16:27.039 --> 16:30.683 comedy action. So it was like I think their whole idea and 16:30.699 --> 16:34.200 how they tried to market it was. Guys who like action movies, 16:34.700 --> 16:37.570 bring your girl who likes rom-coms and you'll both enjoy something. That was sort of 16:38.070 --> 16:40.230 how they— and it's really, that's kind of the only angle you could take on 16:40.730 --> 16:42.610 it. Yeah. I just don't know that there's really an audience looking for that. 16:43.110 --> 16:46.210 But they don't treat that like— yeah, yeah, totally. Yeah. I think they were aiming 16:46.710 --> 16:49.210 at people that don't really exist and are not looking for that kind of movie. 16:49.710 --> 16:51.670 They'll either go to the romantic comedy or they'll go to the action movie. 16:52.170 --> 16:54.730 Yeah. They don't really care about the middle. Don't make the compromise movie. The point 16:55.230 --> 16:57.850 of going to a movie is one person hates it. Yeah, right, 16:58.350 --> 17:01.840 exactly. It's the only way it works, people. Um, 17:02.340 --> 17:06.100 um, so he, uh, so Marty, he finds out that his next 17:06.600 --> 17:09.600 job here— He goes back, he goes back to the office, and, 17:10.100 --> 17:13.040 and Marcela, I think is her name, like, is, is like worried because she's like, 17:13.540 --> 17:17.120 dude, they're pissed. Like, this was supposed to look like— Yeah, he was supposed 17:17.620 --> 17:19.660 to die in his sleep. Now he's died from gunshot wounds. Like, like, this is— 17:20.160 --> 17:21.960 they're pissed and they think you owe them. And he's kind of like, okay, 17:22.460 --> 17:24.620 fine, whatever. And she's like, where's the job? And this is when she's like, 17:24.800 --> 17:27.800 I'm feeling sort of a Black Cat Friday the 13th, like, thing about this one, 17:28.300 --> 17:30.340 you know? That's right. And it's— he has to go to Detroit, and that's his, 17:30.840 --> 17:34.100 his alma mater, his— where he grew up. was in Grosse Pointe, Michigan, which is 17:34.600 --> 17:38.520 sort of a ritzy, sort of nice suburb of Detroit. And so she's like, 17:39.020 --> 17:40.920 hey, you can go this weekend, you can do this job, and then you can 17:41.420 --> 17:44.900 go to your reunion. And he is like pissed, doesn't want to do it, 17:45.400 --> 17:48.619 you know, but like obviously takes the job because he owes these people. You know, 17:49.119 --> 17:52.220 he doesn't want— whatever group hires you to kill other people, 17:52.720 --> 17:55.140 you don't really want to piss that group off. Yeah, it seems like you probably 17:55.640 --> 17:58.200 want to stay in their good graces, whether or not you feel good about your 17:58.700 --> 18:02.220 job. Yeah, exactly. Yeah, so then we have Marty sitting on 18:02.720 --> 18:06.010 a therapist's couch, And kind of he's, he's letting 18:06.510 --> 18:09.950 off about it. And we see the therapist, Alan Arkin, who— so once again, 18:10.450 --> 18:13.630 I mean, this should be a hashtag, #WPA, well-placed Arkin. 18:14.130 --> 18:17.430 They just, they just put Arkin in the right spot here. But it's 18:17.930 --> 18:21.070 funny because Marty's talking for a while and then the first thing the therapist says 18:21.570 --> 18:24.970 is like, I told you I can't work with— like, you are not my patient. 18:25.190 --> 18:28.810 The funniest thing to me is that the actual very first thing we see Dr. 18:29.310 --> 18:32.070 Oatman do, that's Alan Arkin's character, is he is praying the rosary. He's holding a 18:32.570 --> 18:33.790 rosary and going bead by bead. So he's doing his Hail Marys and his Our 18:34.290 --> 18:38.250 Fathers. because he's so scared of Martin. Uh, 18:38.750 --> 18:41.450 and, and there's a very funny exchange here where it's like, yeah, it's like, 18:41.950 --> 18:44.910 you know, he says like, like, Martin, like, you know, you don't— you're not my 18:45.410 --> 18:47.330 patient. You just keep showing up at the same time and this doesn't work for 18:47.830 --> 18:49.390 me. And he goes, what are you talking about? Like, I came to you, 18:49.890 --> 18:51.330 like, you know, I needed help. And he goes, I told you what I did. 18:51.830 --> 18:54.210 And he goes, you told me what you did after 4 sessions. And I told 18:54.710 --> 18:57.010 you I'm not comfortable, like, working with you. I don't work with you. Yeah. 18:57.510 --> 19:00.890 And he goes like, you know, Martin says something about like, well, you know, 19:01.390 --> 19:03.380 but you're gonna keep working with me. He's like, I know where you live. 19:03.510 --> 19:06.650 And I love Arkin's response is, that wasn't nice. That wasn't designed to make me 19:07.150 --> 19:10.590 feel good. Like, it's like such very therapist speak, but it's like also true. 19:11.090 --> 19:14.790 Like, that was definitely a threat. Yeah. And Mars is like, you know, he's like, 19:15.290 --> 19:16.970 what do you think's wrong with me? He's like, I don't know. Do you think 19:17.470 --> 19:20.490 you possibly might have angst over killing a lot of people? And he's like, 19:20.990 --> 19:22.970 no, that's not it. I mean, like, what do we do in therapy? Can we 19:23.470 --> 19:26.530 talk about my dreams? And that's actually, that's the other, that's the third runner I 19:27.030 --> 19:29.230 forgot about. It's the, no, if I show up at your doorstep, you did something 19:29.730 --> 19:31.750 to bring me there. He says that several times in different contexts as well. 19:31.770 --> 19:34.130 But yeah, then he goes like, yeah, I had this dream where I'm that pink 19:34.630 --> 19:37.390 bunny, you know, in a commercial with the batteries. I go, the battery bunny? 19:37.890 --> 19:40.330 Yeah, yeah. What do you think of that? It's a terrible dream. It's a horrible— 19:40.830 --> 19:43.750 it's an inanimate object. It has no anima. It has no life force. Like, 19:44.250 --> 19:45.780 it's a terrible dream, Martin. 19:47.630 --> 19:50.870 Um, so, uh, so he's off now, 19:51.370 --> 19:54.010 right? And he's off to Grosse Pointe. I think Oaken tells him like, yeah, 19:54.510 --> 19:56.290 go to the reunion, try not to kill anybody for a weekend, see how it 19:56.790 --> 19:59.749 feels. Right, that's right. So I'm going to hang out at the reunion and then 20:00.249 --> 20:03.516 I'm going to go do my job after that's all done. I got to say, 20:03.532 --> 20:07.860 Grosse Pointe, Michigan, beautiful. Gorgeous. Lovely little downtown. My, my college 20:08.360 --> 20:11.740 girlfriend Nicole, who I'm still in touch with, is still a friend. She lives there 20:11.852 --> 20:15.507 with her family now. So good for her. Yeah. What a place 20:15.619 --> 20:19.001 there to live. So as we're going into town, we've got 20:19.501 --> 20:22.897 the radio voice, you know, he's listening to the radio and the first song 20:23.249 --> 20:26.247 she's— first she's shouting out the previous songs that had played. 20:26.359 --> 20:29.453 Yeah. Great. Yes. Because I was so excited at the time that she shouted out 20:29.645 --> 20:33.529 more Oh, and Massive Attack as well. Yeah, I wrote Massive Attack and Morphine here. 20:33.818 --> 20:37.125 I was like, fuck yeah. Um, because I loved Morphine at the time and they 20:37.625 --> 20:40.543 never got any, uh, they never really broke, did they? No, never got any play. 20:40.640 --> 20:44.395 And then that guy died in like the late '90s. Um, but Rudy Can't Fail 20:44.492 --> 20:47.653 coming on. I read that, uh, Joe Strummer was involved with 20:47.718 --> 20:51.666 like the music, uh, the composition for this movie. Nice. Which makes sense. 20:51.730 --> 20:54.972 And it's cool that, you know, we've got a few good Clash songs in here, 20:55.165 --> 20:58.570 but God, all these songs are just so amazing. Oh man. Yeah, 20:59.070 --> 21:01.870 Rudy Can't Fail is definitely a favorite. I remember from like the soundtrack, 21:02.270 --> 21:05.790 like it was just, uh, drinking brew for breakfast. There's something about that line that 21:06.290 --> 21:09.270 like as a 17-year-old, it's like, yeah, fuck yeah, man. Counterculture, 21:09.770 --> 21:13.430 baby. Like, and as a 17-year-old, everything like that you listen to, 21:13.930 --> 21:17.110 you're like, they're talking about it because it's cool. Yeah. And this is not 21:17.610 --> 21:21.010 a sad situation. I'm the same way. I definitely, as, as a, as a Northern 21:21.510 --> 21:24.970 California suburbanite, I definitely like understand the plight of the inner city 21:25.470 --> 21:28.628 London teen that's Joe Strummer was really singing to. Like, yeah, 21:28.951 --> 21:32.447 I'm a rude boy getting in fights with Nazis in my 21:32.496 --> 21:35.410 job at Pacific Sunwear. Elmer's glue in my mohawk. 21:35.572 --> 21:39.540 Like, uh, so, so he's going into 21:40.040 --> 21:43.231 town and like this voice on the radio, this is Minnie Driver's character Debbie. 21:43.343 --> 21:47.842 Debbie. And, uh, she looks great. She is just fantastic. 21:47.906 --> 21:51.682 Between this and Good Will Hunting, she was definitely like a, a, a banger 21:51.698 --> 21:55.368 in that era for sure. This was her like like ultra peak, 21:55.384 --> 21:58.238 her like Sandy Koufax, Pedro Martinez, 21:58.366 --> 22:02.038 like 4-year peak. Uh, so Marty, one of the places he 22:02.102 --> 22:05.390 goes, he goes to like see his old school. Yeah, Pointe Cy. And he, 22:05.470 --> 22:08.901 uh, and he runs into an old English teacher. And like based on this conversation 22:08.917 --> 22:12.509 you can have, you can tell he was just an incredibly bright student and stuff. 22:12.557 --> 22:15.219 And she was, you know— This is another thing where it's like the, the, 22:15.427 --> 22:18.714 the, the information they're giving us about Martin and where he came 22:18.779 --> 22:22.355 from and who he was is so loaded with subtext. Right? 22:22.403 --> 22:25.261 Nobody, you know, she's not saying exactly what she's thinking. She's just saying like, 22:25.293 --> 22:28.472 oh, you fooled us all in the teachers' pool. We thought Harvard, Yale would happen. 22:28.906 --> 22:31.459 So it's like she doesn't have to say, oh, you were such a good student. 22:31.700 --> 22:35.489 Yeah. Where'd you go to college? Like, that would've been the kind of crappier way 22:35.569 --> 22:37.673 to sort of get the same information. For sure. The way they did this was 22:38.173 --> 22:41.093 so wonderful. And there's this undercurrent of like, 22:42.249 --> 22:45.444 it's not disrespect, but there's something underneath with the two of them where it's almost 22:45.944 --> 22:49.440 like she's so shocked that he even showed up. That it's sort of like she 22:49.940 --> 22:52.240 doesn't really know what to say. There's— it's a really wonderful dynamic between these 2 22:52.740 --> 22:56.000 actors. Yeah, I like this interaction. It was, it was really 22:56.500 --> 23:00.340 nice. Um, and, uh, and Marty— so he's been gone for 23:00.840 --> 23:04.840 10 years. Like, he's not— and not— no contact with anybody, just disappeared for 23:05.340 --> 23:08.540 10 years. We get very clearly understood that it's 10 years a little later. 23:10.060 --> 23:13.420 Uh, he goes to check out his old house. So as he departs from 23:13.920 --> 23:15.900 the teacher, he says, oh, I'm actually gonna go check out my old house. 23:16.400 --> 23:17.580 Yeah. And she kind of hints at like, oh, are you? Like, okay, okay, 23:18.080 --> 23:21.516 take care. I don't care. And when he 23:22.016 --> 23:25.269 goes by and sees it, it has become an Ultramart. 23:25.365 --> 23:28.380 Ultimart. Ultimart. Like ultimate, but Ultimart. 23:28.749 --> 23:32.534 Nice. So this 7-Eleven-style convenience store in there. And while 23:32.726 --> 23:36.703 he's pulling up to the Ultimart, the song 23:37.778 --> 23:41.210 Live and Let Die, the Guns N' Roses version, is playing over 23:41.242 --> 23:44.770 the soundtrack. This is not diegetic at this point. It's just on the 23:45.270 --> 23:48.846 soundtrack, right? But as he walks into and the scene cuts to the interior 23:49.346 --> 23:52.826 of Ultimart, one of my favorite transitions in movie history is that Live and 23:52.858 --> 23:56.485 Let Die is then playing as muzak inside the Ultimart, 23:56.565 --> 24:01.026 and it is brilliant. It's just like, it's so perfect. 24:01.138 --> 24:03.546 And so just, dun dun dun dun dun dun. 24:04.348 --> 24:07.237 And it's so much quieter that like, 24:07.622 --> 24:10.847 you know, it'd be easy to miss. No lyrics, 24:10.863 --> 24:14.329 right? No vocals. Yeah. And it's just just— it is— it's 24:14.441 --> 24:18.548 perfect. Yeah. And it's one of those details in this movie where it's like they 24:18.693 --> 24:22.527 really paid attention to things and like took every opportunity 24:22.800 --> 24:25.768 for— to like make something fit and to make something better. Yeah. 24:26.313 --> 24:30.164 And, uh, yeah, this is a great example of it. So Marty goes into this 24:30.664 --> 24:33.950 convenience store and he's kind of like mad at the cashier, like, what the fuck? 24:34.014 --> 24:36.950 What are you doing here? He's like, what? This should be my bedroom. It's crazy. 24:36.998 --> 24:39.270 Sage, what are you doing here? The kid's like, I'm on a shift. Like, 24:39.770 --> 24:41.390 what do you— I work here. What do you mean? What are you doing here, 24:41.890 --> 24:45.470 customer? And he's like, no, no, but what are, what are you doing here? 24:45.970 --> 24:49.950 Like, what— why are you here? Yeah, he's so confused. You as representative 24:50.450 --> 24:54.130 of the Ultimart. Why is the Ultimart Corporation in my old home? 24:54.630 --> 24:56.650 Like, yeah, the guy's like, I don't know, I've worked here for 2 months. 24:57.150 --> 24:59.890 Right, like, fuck off. Uh, 25:00.390 --> 25:03.770 so, so that's a great, uh, that's a great realization there. And then 25:04.270 --> 25:07.620 kind of the one of the last connections to town before he starts meeting his 25:08.120 --> 25:10.940 classmates is he goes to visit his mom. Yeah, who's clearly in some kind of 25:11.440 --> 25:14.900 sanatorium. Yeah, something. Yeah. And like, he's asking her, 25:15.400 --> 25:17.780 he's just like, hey, what happened to the house? What happened to all the money 25:18.280 --> 25:21.600 that I've been sending you? She's just like, they stole it. But his 25:22.100 --> 25:25.180 mom also clearly has dementia, so it's like she could have spent it, she could 25:25.680 --> 25:28.620 have been lying, she could be just super confused. I don't even think she's old 25:29.120 --> 25:32.120 enough for dementia. She must have something specific going on. There's something— because it's just 25:32.620 --> 25:34.620 like, she doesn't even seem that old, you know what I mean? He's like 28. 25:34.976 --> 25:38.567 Yeah, she can't be older than her 50s, most likely. Yeah. So dementia is 25:38.583 --> 25:41.564 probably not it, but she's got something that— yeah, she has had a psychotic break 25:42.064 --> 25:45.828 or like something really bad, and she's been— she's convalesced, you know, she's been committed. 25:45.956 --> 25:49.836 And so he tries to like talk to her, and she is just like not 25:50.204 --> 25:53.586 really responding to him per se. And then the nurse comes and like 25:54.086 --> 25:55.831 has to take her somewhere, like, so she gets in a wheelchair and they start 25:56.331 --> 25:59.341 pulling off. And, and he's like gonna ask another question, but as she just turned 25:59.841 --> 26:02.150 around to face him, she sort of pulls her hair up and goes, like, 26:02.650 --> 26:05.950 you're a handsome devil, what's your name? And it's like, uh, 26:06.450 --> 26:09.849 Martin. Martin. Oh, you know, it's like— and it's just like, fuck, man, 26:10.349 --> 26:12.590 she doesn't even remember 2 seconds ago that I was here. Yeah. Like, there's no— 26:13.090 --> 26:16.450 there's no getting information out of her. No. Goldfish— goldfish memory. Yep. 26:16.950 --> 26:20.500 Uh, yeah, so that really sucks, but at least he's got his dad. 26:20.810 --> 26:24.090 Oops. So it shows Martin, uh, going to 26:24.590 --> 26:28.210 visit a cemetery, and there's the grave that's clearly his father's grave. 26:28.710 --> 26:30.910 Uh, he pulls out a bottle of scotch. You think, ah, you have a nice 26:31.410 --> 26:33.930 drink at your dad's grave. And he just dumps it, pours it out for him 26:34.430 --> 26:37.730 all over the entire thing. He doesn't understand the concept of pouring out a sip. 26:38.230 --> 26:40.870 It's pouring one out, I believe, is the term. Pour one out. 26:40.970 --> 26:44.430 Yeah, I think you pour a sip like with a 40. 26:44.930 --> 26:47.350 You pour a sip on the concrete for the deceased, right? That's what I'm saying. 26:47.850 --> 26:51.890 You pour one out. So not all of them. He's like, one, one swallow, 26:52.390 --> 26:54.850 one drink, one, one share is all you need to pour out. You don't need 26:55.350 --> 26:56.910 to pour out the whole bottle. But he does. But we find— I think we 26:57.410 --> 27:00.530 find out throughout this movie that Marty, he doesn't drink. He's always ordering 27:01.030 --> 27:04.510 club soda and stuff. So that could also be something about how his dad died. 27:05.010 --> 27:07.190 Like, we don't find out a lot about this. No, but dad was an alcoholic 27:07.690 --> 27:10.310 or whatever. But I think that the, the years on the tombstone make it clear 27:10.810 --> 27:13.370 he only lived— he died young, in like his 40s or something. Like, he was 27:13.870 --> 27:16.590 a young man. So, uh, and he died during the time that Martin has been 27:17.090 --> 27:19.890 gone. Is that right? I think so. Okay. Yeah, yeah, I couldn't— I can't remember 27:20.390 --> 27:23.310 now exactly what it said, but yeah, it basically was, was, yeah, 27:23.518 --> 27:26.292 It's clear why he wouldn't drink. Yeah. Like, I think it's pretty obvious. Like, 27:26.308 --> 27:29.869 he is so focused on staying operationally aware 27:30.542 --> 27:33.429 wherever he is that like any amount of alcohol is gonna, you know, 27:33.926 --> 27:36.941 turn that off a little bit. So that part makes sense. But an additional thing 27:36.989 --> 27:41.079 of, yeah, did his father die of alcoholism or something, right? That would double 27:41.579 --> 27:44.591 that up and make it even clearer. So, but yeah, so then he decides to 27:45.091 --> 27:48.568 go back to visit Debbie again at the radio station. And so she's on 27:48.664 --> 27:51.345 the air. And this is the part with, 27:51.634 --> 27:55.309 with the song, the song I love that is hard to find. So it's specifically 27:55.502 --> 27:59.033 this version from The Specials of Pressure Drop. Pressure Drop's been 27:59.533 --> 28:02.388 done several times by several different bands. I think there's a Toots and the Maytals 28:02.888 --> 28:05.181 version. I think there's like a bunch of different ones, but this is The Specials 28:05.197 --> 28:08.824 doing it. And it is my favorite version of Pressure Drop. And I cannot find 28:09.324 --> 28:12.099 it anywhere on Spotify, on Apple Music or whatever, 28:12.179 --> 28:15.871 this particular recording of Pressure Drop. Okay. And it is one of my 28:16.371 --> 28:19.460 favorite songs on this soundtrack, if not My favorite song on this soundtrack, and it 28:19.960 --> 28:23.120 is not. I tell you what, Steve, I'll burn you a CD. Please, 28:23.620 --> 28:26.500 please, because I love this version of this. I will be with it today. 28:27.000 --> 28:29.380 I will get my CDs. Rock and roll, man. I don't even know if I 28:29.880 --> 28:31.760 have a CD player anymore. I'm gonna throw it. Doesn't matter. You could spin it 28:32.260 --> 28:35.060 around on your finger. Maybe you can. Can you just like rip it to MP? 28:35.560 --> 28:37.960 You know what? I'll figure it out. I'm like, I need like an MP3 of 28:38.460 --> 28:41.020 it these days. Steve, don't ask me tech stuff. I don't even understand this thing 28:41.520 --> 28:43.360 I'm talking into right now. Well, that's fair. That's a good point. You really don't. 28:43.610 --> 28:47.430 It's frightening, people. He really doesn't. This interaction, uh, that he 28:47.930 --> 28:52.150 has with Debbie is so good. It's so good. And she's like— 28:52.650 --> 28:54.630 so he's sitting down, he's like, hey, I want to talk to you. And she's 28:55.130 --> 28:58.370 like, yeah, talk, and shoving the microphone in his face like, you're gonna do this 28:58.870 --> 29:02.070 shit, right? So he stood her up. He— they dated in high school and he 29:02.570 --> 29:05.110 stood her up on prom night. Yeah. And not only stood her up, like skipped 29:05.610 --> 29:08.750 town for 10 full years. Yeah. Like just completely vanished. 29:09.250 --> 29:12.130 Yeah. And this is what I think maybe the first time, maybe, uh, of the 29:12.630 --> 29:13.730 people in town that he tells the reality of what he did. Like, he does 29:14.230 --> 29:17.467 not lie to these people what he does for a living. Nobody believes him. 29:17.611 --> 29:20.739 Yes. But he says like, I, I, I freaked 29:21.239 --> 29:24.173 out, I joined the army, you know, stuff happened, went places, 29:24.911 --> 29:28.023 work for myself now, I'm a professional killer. Yep. And she's like, you know, 29:28.039 --> 29:30.798 I don't know which joke— everybody has some joke. Do you get dental with that? 29:30.943 --> 29:33.766 Oh, that's a growth industry. Like there's all these little jokes that they sort of 29:34.266 --> 29:36.317 throw in. I don't remember which one she gives him, but it's, it's, it's— she 29:36.817 --> 29:39.333 doesn't, you know, nobody believes— it's the kind of thing people joke about. Yeah, 29:39.349 --> 29:42.477 right. And so nobody believes him, but he's trying to be so honest To all 29:42.977 --> 29:46.710 these people from his past. Yeah, and it's like throughout the movie, 29:46.806 --> 29:49.804 this was cracking us up. My daughter watched this with us too, and every time 29:49.852 --> 29:53.636 he mentioned the professional killer thing, she was dying. She's like, he's just 29:54.136 --> 29:56.634 telling everybody. I'm like, he's telling him the truth. 29:57.067 --> 30:00.162 This interaction though is, is excellent. And she's calling 30:00.274 --> 30:03.657 out to, okay listeners, what do you think of this situation? Call in, you know, 30:03.721 --> 30:07.585 and people are calling in. I love the small town radio station 30:08.085 --> 30:11.193 with the window right onto Main Street. I feel like What? 30:11.514 --> 30:15.122 My taxes can pay for that. The police can have one less tank and 30:15.622 --> 30:18.458 we can have a fucking Main Street radio station in the middle of the town. 30:18.635 --> 30:22.163 I want that so bad. It's very cool. It's very Do 30:22.663 --> 30:26.013 the Right Thing, right? Yeah. Senior Love Daddy. And, and it's— yeah, it's the 30:26.513 --> 30:30.054 kind of thing that is a quaint idea that was rare then and is 30:30.554 --> 30:34.289 impossible now because it's just there's no money in like radio the way— That 30:34.789 --> 30:37.721 tank is just sitting there. That tank doesn't need to run over all the homeless 30:37.737 --> 30:41.190 people. Sell the tank. That's true. All right, we got 30:41.690 --> 30:44.850 to rework the city budget here. Um, but yeah, no, so she's just there 30:45.350 --> 30:47.910 and they get— they take some calls and it's basically people saying like, oh, 30:48.410 --> 30:50.300 I'd make him jump through some hoops because, you know, she tells people like, 30:50.490 --> 30:53.150 long lost, you know, the guy comes back after 10 years, like, what do I 30:53.650 --> 30:56.150 do? Should I let him back? And everyone's like, no, fuck that. And we get 30:56.650 --> 30:59.450 a call that'll come back later of a guy who identifies himself as Nathaniel, 30:59.950 --> 31:02.350 like, I don't hear a lot of remorse, Debbie. I think, you know, I'd make 31:02.850 --> 31:06.290 this guy like do some stuff, man. Like, he'll come back later, but yeah. 31:06.637 --> 31:10.333 So basically he does not want to talk, so he takes his headphones 31:10.833 --> 31:13.900 off and he's like, I'm not gonna talk. So is this when he goes to 31:14.400 --> 31:16.037 leave and then comes back in? No, he came back in. They make out at 31:16.053 --> 31:19.604 one point, which is very funny because it's like she 31:19.974 --> 31:23.300 obviously thought she'd never see him again, right? And then now here he is, 31:23.365 --> 31:26.851 and it's like the confusing emotions you must 31:26.884 --> 31:30.644 be feeling at that moment. Oh, for sure. And I mean, especially like 10 years 31:30.740 --> 31:33.906 after high school, everyone still looks 31:34.406 --> 31:35.450 Looks the same. Like, you'd probably be more likely to have those feelings. Sure. 31:35.950 --> 31:38.090 If it was like 20 years, right? Like, what happened to your hair, you piece 31:38.590 --> 31:41.790 of shit? Um, and not that that's ever happened to me, 31:42.290 --> 31:44.690 uh, but Martin's like, can we get out of here? Can we go get a 31:45.190 --> 31:48.610 cup of coffee or something? Uh, when he goes to meet her, he's obviously very 31:49.110 --> 31:51.990 paranoid about not having his back to the wall. Like, he needs to be in 31:52.490 --> 31:55.840 the back corner. And like, you know, I'm, I'm kind of like that anyway. 31:56.050 --> 31:59.530 Imagine being a professional assassin. Like, you're definitely not gonna want to do that. 31:59.726 --> 32:01.668 Yeah, for sure. Um, 32:02.872 --> 32:06.226 let's see here. So I think now he runs into another friend on the street. 32:06.306 --> 32:08.698 Yes. So this is Paul, played by Jeremy Piven. 32:09.436 --> 32:12.582 Oh, right before Paul, we see— oh yeah, 32:12.614 --> 32:16.048 someone who looks so weird that you know they're coming up later. 32:16.097 --> 32:19.483 This guy looks like he— I— the only— I 32:19.547 --> 32:23.688 was calling him the fake face guy. Yeah, he looks like the Tim Robinson 32:23.720 --> 32:26.978 There's Too Much Fucking Shit on Me sketch. The Carl Havoc thing. 32:27.427 --> 32:30.733 Like, he, he looks like he just has a false face on. Yeah. And it's 32:31.233 --> 32:34.408 a very weird look. So he's a short guy with long hair who's 32:34.908 --> 32:38.388 like gonna come into play later, right before we meet Jeremy. He looks very European. 32:38.645 --> 32:42.239 Yes. And at the same time that Martin notices him, he also clocks 2 guys 32:42.336 --> 32:44.984 who have been following him, a Black guy and a white guy. The white guy 32:45.484 --> 32:48.931 I know is Hank Azaria. I don't recognize the other actor, but they are— we're 32:48.996 --> 32:52.093 led to believe some kind of government agent, and they're following him as well. 32:52.686 --> 32:54.770 Uh, it turns out— I don't know when exactly in the story we get it, 32:54.786 --> 32:58.489 but basically Grocer tipped them off to the fact that Martin 32:58.989 --> 33:02.336 is here to kill somebody, so that when they follow him, witness him, let him 33:02.400 --> 33:05.686 do it, and then they can kill him, you know, sort of like for Grocer 33:06.186 --> 33:09.052 or something like that. But that way it's not really assassination. They can claim they 33:09.552 --> 33:12.306 did it, you know, the, the suspect died in trying to arrest him or something, 33:12.338 --> 33:15.865 right? Like that kind of thing. Shocker, cops lying. Um, 33:15.945 --> 33:19.151 but basically, like, he clocks them too, so now he's, he's on kind of high 33:19.651 --> 33:22.000 alert. And I think he even calls Marcel and is like, find out like who 33:22.500 --> 33:25.340 else is in town. Like, I've spotted 2 spooks and a ghoul, I think at 33:25.840 --> 33:29.410 some point he mentions, right? And, and, but then, then he bumps into Jeremy Piven, 33:29.440 --> 33:32.300 uh, Paul, his old buddy. And this is clearly like 2 people who were very 33:32.800 --> 33:36.020 close friends in high school, right? Like, this is clearly old buddies. But again, 33:36.520 --> 33:39.340 Martin hasn't seen anybody in 10 years. So, you know, he's like chatting and Paul's 33:39.840 --> 33:41.780 a real estate agent. He's like, hey, I gotta go show a house. You know, 33:42.280 --> 33:44.540 why don't you come with me, hang out? Uh, he makes a comment every time 33:45.040 --> 33:47.540 somebody drives something that's not American, because he always drives a Lincoln Town Car. 33:48.040 --> 33:51.116 That's the only car he drives. Grocer as well. Black Lincoln Town Cars. That's it. 33:51.164 --> 33:54.441 Apparently the choice vehicle according to this movie, like the 33:54.941 --> 33:58.537 most maneuverable car. Seems like it's crazy the 33:59.037 --> 34:03.130 moves they pull. Yeah. But yeah, if it's not a Detroit-built auto, 34:03.195 --> 34:06.889 yeah, exactly. Isn't that sacrilege? Because Jeremy drives a BMW. 34:06.969 --> 34:09.780 Paul rather drives a BMW. They go off to check out this house. 34:10.005 --> 34:13.362 He's like milling about on the lawn while Paul shows the house to this couple. 34:13.715 --> 34:15.449 And this, I don't remember the name of the guy, but it's this this, 34:15.949 --> 34:19.249 uh, like really small, bald, meek-looking like security 34:19.749 --> 34:22.389 guard guy. Yeah, who like rolls up hella fast and it's like, hey, I've been 34:22.889 --> 34:26.009 seeing people on the street. Martin! Like, and he recognizes him, another guy from high 34:26.509 --> 34:29.709 school basically. This guy is a funny character. And, and he's 34:30.209 --> 34:33.129 telling— Martin's asking him about his job, so he's like, he's like, so you're a 34:33.629 --> 34:36.629 cop? He's like, no, I'm not a cop. We're kind of private security for this 34:37.129 --> 34:40.049 neighborhood, so anyone who needs something done in this neighborhood. And he's like, can you 34:40.549 --> 34:43.060 carry a gun? Yeah, I carry a gun. Yeah, so you're authorized to just shoot 34:43.560 --> 34:47.200 and kill people? He's like, he's like, yeah. And Martin's like, that's a crazy job. 34:47.700 --> 34:50.180 How did you get it? He's like, well, they were hiring, plus it was only 34:50.680 --> 34:54.280 a 2-week course. So it's ICE, basically. He's, uh, he's got the same training 34:54.780 --> 34:58.040 the ICE agents have. Yes. Yeah. But yeah, so it's funny, 34:58.540 --> 35:01.080 there's a line here where, uh, as, as Paul is like talking to the couple 35:01.580 --> 35:03.220 and they're getting ready to sort of leave, but they look like they really like 35:03.720 --> 35:07.420 the house. Yeah. Martin says something like, I've always felt very temporary about myself. 35:07.887 --> 35:11.031 But seeing the two of you here, like, if the time ever comes for me, 35:11.111 --> 35:13.550 and I hope it does, I want a house like this. I want a wife 35:13.678 --> 35:17.191 like you. It's just like very creepy. He's trying to be 35:17.691 --> 35:20.127 helpful and he's very bad at it. That's a guy who spends all his time 35:20.191 --> 35:23.031 alone and like looking out hotel windows. Yes. 35:24.330 --> 35:28.052 Uh, one, uh, funny detail too about Paul. So as they're leaving 35:28.100 --> 35:31.645 there and Paul, uh, discloses that, oh, I was the realtor 35:32.145 --> 35:35.415 that sold your mom's house to Ultimart. Well, Ultimart came with— I tried to 35:35.915 --> 35:38.077 get a family in there, but Ultimart made the best offer. Oh well, you got 35:38.577 --> 35:41.316 to do what you got to do. Like, um, and this is— and now they're 35:41.332 --> 35:44.059 driving down the street for a bit and, uh, smoking a joint. They're sharing a 35:44.559 --> 35:48.180 joint, or at least, uh, Paul is smoking it. Uh, and this is when he 35:48.629 --> 35:51.949 is just talking to Martin and then freaks out in the middle of his 35:52.449 --> 35:55.798 sentence and starts screaming, 10 years! Yeah, 10 years! 35:55.942 --> 35:59.294 10 years! And like honking the horn and stuff. And then again, 35:59.310 --> 36:02.590 Martin's back to like like, I freaked out, I went in the Army, 36:03.108 --> 36:06.427 got into the CIA, now I work for myself, I'm a professional killer. And he 36:06.927 --> 36:10.839 goes, oh, do you get dental with that? Like, oh my 36:10.887 --> 36:14.719 God. Oh man. Um, okay, so he's— is 36:14.751 --> 36:17.971 he going back into the Ultimart? He goes back to the Ultimart. I don't even 36:18.471 --> 36:21.678 think we're really told why. Yeah, per se, but he goes back to the Ultimart, 36:22.145 --> 36:25.272 uh, and the kid is now not behind the counter anymore, he's playing the Doom 36:25.385 --> 36:29.309 2 arcade game. Yeah, there in the corner and wearing a Detroit Red 36:29.341 --> 36:32.791 Wings hat. Hockey gear. Hockey gear. Hashtag hockey gear. Hockey A will 36:33.291 --> 36:36.386 be added to this one. But yeah, he goes there, and then as he's on 36:36.886 --> 36:39.692 the phone, I think with Dr. Oatman, just being like, Dr. Oatman, like, I'm not, 36:39.853 --> 36:42.662 you know— or no, no, this is when he calls Marcella to ask about the 36:43.162 --> 36:44.924 spooks and the ghoul, like find out who else is in town. He's on the 36:45.424 --> 36:48.006 phone with her as the ghoul, that weird-looking short European guy, 36:48.600 --> 36:52.644 comes barreling into the Ultimart carrying 2 Uzis and just starts 36:52.756 --> 36:57.619 spraying bullets at Martin everywhere. A huge gunfight 36:58.119 --> 36:58.713 ensues. Yeah. Uh, and I love this too. This is great, another great kind of 36:59.213 --> 37:02.392 music editing thing or sound editing thing where when we get the perspective of the 37:02.892 --> 37:05.300 kid, so we're either close up on his face or we see the Doom 2 37:05.800 --> 37:08.802 game he's playing, we hear Ace of Spades by Motorhead, 37:09.219 --> 37:12.175 uh, playing, which is a great song, and playing in his headphones. And then when 37:12.271 --> 37:15.388 we cut out to the battle going on, 37:15.822 --> 37:18.842 the, the song is basically gone, or it's like, or it's very tiny 37:18.874 --> 37:21.219 in the background. So yeah, we get this like cut back and forth of like, 37:21.267 --> 37:24.896 we can tell the kid does not hear the gunfire. Because Motorhead is playing so 37:25.396 --> 37:28.394 loud in his headphones, which is like, I think, a little unrealistic, but that's okay, 37:28.410 --> 37:31.700 like, whatever, right? So there's this— it's a great cut back and forth and 37:32.200 --> 37:35.230 another great example of like the sound editing in this movie. And this is good, 37:35.471 --> 37:38.728 you know, good action here. Good double gun, John Woo style, 37:39.001 --> 37:42.948 you know, diving around. Convenience store makes for a great set. Shit flying all 37:43.448 --> 37:45.740 over the place. All the chips are getting blown up and the milk behind you 37:46.240 --> 37:49.335 and whatever. Bags of chips blowing up. Give me that all day, dude. Clerks could 37:49.351 --> 37:52.600 never. So So the fake face guy manages 37:53.100 --> 37:56.380 to kind of get away. Yeah. And, and Marty's like, all right, I got 37:56.880 --> 37:59.700 to get out of here too. He notices that in the microwave there's like a 38:00.200 --> 38:03.680 brick of C4, you know, clearly rigged to explode. And so 38:04.180 --> 38:07.319 he grabs the kid and gets him out of there. Just, you know. And I 38:07.819 --> 38:09.380 don't know how you would set that up. I don't know how you would set 38:09.880 --> 38:13.720 that up where the microwave counting down was somehow related to 38:14.220 --> 38:15.800 the timer of the thing. That was a little strange. It seems like it would 38:16.300 --> 38:19.320 have to hit a certain temperature, right? So it wouldn't— yeah. Yeah. But it was— 38:19.820 --> 38:22.930 it's good. It's cinematically good. Yeah. It's not logical, but that's fine. But yeah, 38:23.430 --> 38:25.670 he actually runs out the door and then comes back and grabs the kid. 38:26.170 --> 38:29.150 This is sort of a Martin's not really a bad guy confirmation moment where he 38:29.650 --> 38:32.610 goes back for the kid and drags him out and blows up. And this is 38:33.110 --> 38:35.710 another, it's not me, 'cause the kid's like, what'd you do? He's like, it's not 38:36.210 --> 38:38.490 me. He's like, no, I gotta find another job. I know, I love that the 38:38.990 --> 38:42.230 kid's reaction was that. Uh, one thing that would've been satisfying we 38:42.730 --> 38:45.730 didn't get here, and I get why because of the sequence of things, is the 38:46.230 --> 38:49.250 kid turning around and seeing like the destroyed store. Like, 38:49.750 --> 38:52.330 he doesn't have a moment to even notice that 'cause he goes straight from the 38:52.830 --> 38:56.250 video game like out into the field. From his perspective, this guy showed up earlier 38:56.750 --> 39:00.350 in the day freaking out and like kind of talking crazy, and the next thing 39:00.850 --> 39:04.050 he— next time he sees him, he's pulling him out of the store right before 39:04.550 --> 39:07.210 it explodes. Right. So nobody else around. No one else there. Okay, so this guy 39:07.710 --> 39:09.500 came to blow up the store he was mad at earlier. 39:11.330 --> 39:14.810 Um, domestic terrorist. So Debbie and, 39:15.310 --> 39:19.230 uh, and Martin are meeting at the Hippo Club. Hippo Club. Pretty cool 39:19.730 --> 39:22.250 looking place. It looks a little tiki-ish maybe. I can't even really tell exactly what's 39:22.750 --> 39:25.345 going on in there, but yeah, the decor is a little a little nondescript. 39:25.603 --> 39:29.193 Yeah. But yeah, he's— again, he's got a, you know, club soda or 39:29.241 --> 39:32.248 whatever, and she's, she's got a shot. And then they, they get interrupted as they're 39:32.748 --> 39:35.068 talking. And again, he— I think he's explaining to her like, I'm a killer, 39:35.148 --> 39:38.828 and she deflects, you know, whatever. But some other woman shows up, 39:38.908 --> 39:42.314 and this is the first time we see— we don't see very 39:42.814 --> 39:46.228 many until the reunion sequences— other women they went to school with. You see several 39:46.728 --> 39:49.257 of the guys. We see Paul, we see the security guard guy. Like, there's a 39:49.757 --> 39:53.340 couple, right? This woman, and later women we see who went to school with them, 39:53.840 --> 39:57.560 they all look way too old. It's something about the hair or the— what they're— 39:58.060 --> 40:00.940 the outfit they're wearing. They all look like they're in their 40s. I know. 40:01.440 --> 40:04.000 You're supposed to— like, 10-year reunion, you're 28. It's our association with that look, 40:04.500 --> 40:06.280 though, with looking at people who are older. But the guys don't look like that 40:06.780 --> 40:08.700 to me. Like, John Cusack and Minnie Driver doesn't look like that to me. 40:09.200 --> 40:12.380 Like, it's something about these other women in their class 40:12.880 --> 40:15.340 reunion grouping, and not even all of them, but just several of them have got 40:15.840 --> 40:19.300 these crazy, like, beehive haircuts. These very, like, '50s-looking crazy 40:19.800 --> 40:19.920 hairs. And it's like, you went to high school in the '80s and you're 28. 40:21.560 --> 40:24.527 28 years old. This, this doesn't make any sense. I know it does. 40:24.704 --> 40:28.314 I do feel I read them as, as older for sure. Uh, 40:28.330 --> 40:31.667 yeah, so yeah, and this lady is, is very, you know, 40:31.923 --> 40:35.212 classic irritating former classmate. Spills a drink on them, 40:35.308 --> 40:38.116 like, yeah, yeah, all this stuff. So he goes to the bathroom just to like 40:38.616 --> 40:40.923 clean up, like wash his hands or whatever, because he's got like the liquor all 40:41.423 --> 40:44.228 over it. And he sees the 2, the 2 guys, the 2 feds basically are 40:44.276 --> 40:47.437 in there. And they have— first everybody acts like nobody knows who the other person 40:47.937 --> 40:50.910 is. But after he washes his hands and he's like drying them off, he goes— 40:51.410 --> 40:52.890 he like looks at them and goes, I'm gonna go back to my table, 40:53.270 --> 40:55.790 I'm gonna finish my drink, I'll be going back to the hotel in about 20 40:56.290 --> 40:59.670 minutes, see you there. I, I can't get enough of this in any 41:00.170 --> 41:03.709 film, is the guy just notifying his tail. Like in Goodfellas, 41:04.209 --> 41:06.270 like where he knocks on the window to wake him up, come on, fuck, 41:06.770 --> 41:09.410 like, let's go. Beverly Hills Cop and the banana in the tailpipe stuff. Like, 41:09.910 --> 41:10.980 it's always good, it's always good. 41:12.890 --> 41:15.650 And so Grocer comes out. So after Martin leaves the bathroom, Grocer comes out of 41:16.150 --> 41:17.470 one of the stalls and it's like, why don't you guys just kill him? 41:17.970 --> 41:21.093 And it's like, like, no, I love the one guy goes, cuz we're not assassins. 41:21.141 --> 41:23.384 The way he does the little— I was trying to figure out how to write 41:23.884 --> 41:27.262 that down cuz I wrote— It's ahyuck, I believe is the spelling. Yeah, 41:27.791 --> 41:31.461 his reaction was really funny cuz it was like, it could 41:31.493 --> 41:34.922 be that Grocer is just intimidating and pushing these guys around, but these guys 41:35.422 --> 41:38.752 are being like so sarcastic, like, fuck you, man. And then 41:38.800 --> 41:42.374 the very— one of the funniest jokes in the entire movie is then Hank Azaria 41:42.874 --> 41:44.660 is looking down the hall and he goes, He's coming back! He's coming back! 41:45.160 --> 41:48.460 And Grocer dives back into the stall. And then Hank Azaria looks at his partner 41:48.960 --> 41:51.280 and just shakes his head like, no, he's not. And like maybe 3 or 4 41:51.780 --> 41:54.520 seconds goes by, and Grocer comes out and goes, oh, fuck you guys! 41:55.020 --> 41:58.560 That's one of my favorite jokes in the whole movie. It's so good. And then 41:59.060 --> 42:02.220 right after that, right, he's talking— Marty and Debbie 42:02.720 --> 42:06.460 are back at the table, and they're kind of talking more about him. And she's 42:06.960 --> 42:09.660 like asking about his life. He's like, I have a cat. And he's like, 42:10.160 --> 42:13.480 it's very demanding. And she's like, it? Is it a boy or a girl? 42:13.980 --> 42:16.900 He goes, I respect that. its privacy. 42:17.400 --> 42:22.280 Banger line. So good. So good. Oh man. 42:22.780 --> 42:26.140 Um, yeah, and then, uh, so I think we get a quick phone call 42:26.640 --> 42:29.680 between Marcella and, and, uh, Martin a little later, uh, where she's asking, how did 42:30.180 --> 42:31.260 it go? And he's like, I haven't done it yet, I'll do it tomorrow. 42:31.760 --> 42:34.300 And she's like, uh, because she's giving him info, well, these are the guys that 42:34.800 --> 42:37.260 are there, like, this is, this is not good, right? Like, I think this is 42:37.760 --> 42:40.320 this part where it's like, you know, yeah, there's these 2 NSA guys and then 42:40.820 --> 42:44.240 there's this other guy. And he actually does recognize from like reputation, like who this 42:44.740 --> 42:47.340 person is. Oh, that guy's a fucking asshole, like whatever. And he's like, yes, 42:47.840 --> 42:49.860 you're getting out of there, right? You're leaving, right? You're not staying, right? This is 42:50.360 --> 42:52.920 dangerous. And she's— and he's like, no, no, I'll take care of it. When she's 42:53.420 --> 42:57.200 reading the name, she's like, uh, Steven Lardner, AKA Steve. 42:57.700 --> 43:01.140 It's so good because like the, 43:01.640 --> 43:06.500 the European guy actually had some aliases, I think, right? Yeah, AKA Steve. 43:07.000 --> 43:09.600 Uh, and the thing about the NSA, the, the feds, is like they have to 43:10.100 --> 43:13.078 catch him in the act. So they can't just take him out, even though they 43:13.578 --> 43:15.868 plan on fully murdering him. Oh yeah. They need to like wait for him to— 43:16.125 --> 43:19.316 They have to at least have a plausible excuse for why it happened, whereas the 43:19.816 --> 43:23.165 other guy is just here to kill him in whatever way he can. And then 43:23.197 --> 43:26.436 it's kind of like he doesn't— I don't think at this point he knows Grocer 43:26.452 --> 43:29.660 is in town, or maybe he does. Maybe that's— oh no, that's right, because she 43:30.160 --> 43:32.803 tells him Grocer dimed— Grocer's the one who dimed him out to the feds. 43:33.284 --> 43:36.427 And so, and so then he contacts Grocer and they go to meet. 43:36.892 --> 43:39.537 at like a diner. That's right. Right? And so, 43:39.938 --> 43:43.048 so they are both— so Grocer's got his hand in a paper bag and 43:43.064 --> 43:45.933 the feds are watching. So they're watching this thing. But like, 43:46.430 --> 43:50.085 like, uh, uh, uh, Martin's got his gun like under a napkin. Grocer's got his 43:50.117 --> 43:53.531 in a paper bag. And they're both sort of like really, really fidgety 43:53.564 --> 43:57.315 with each other. So twitchy. This— the, the physicality in this 43:57.815 --> 44:00.809 is so good. It's so funny, man. Yeah. Um, yeah, 44:00.841 --> 44:04.111 because it's just like, oh, hello, sir. How are you doing? I'm good 44:04.143 --> 44:07.061 too. And just knowing that there's a gun on you and everything. 44:07.814 --> 44:11.600 Um, when the waitress comes to take their order. I don't remember what Grocer orders, 44:12.100 --> 44:14.130 but it's very like this, then this, then this. It was very simple, whatever. 44:14.200 --> 44:16.800 And then Martin goes, I'd like an egg white omelet, please. And she goes, 44:17.300 --> 44:18.640 what would you like in the omelet? Nothing in it, just the egg whites. 44:19.140 --> 44:21.160 Well, then that's not technically an omelet. And he goes, look, I don't want to 44:21.660 --> 44:23.520 get into the semantics about it. I just want some protein. Like, can you bring 44:24.020 --> 44:28.880 me the egg white? Like, that was, that was a little, uh, Brody Randall, 44:29.380 --> 44:32.780 like, uh, Kevin Smith character that snuck in there. I think that's a little 44:33.280 --> 44:36.941 bit Kevin Smithy kind of exchange. Um, one thing that, 44:37.021 --> 44:40.647 uh, that Grocer is telling Marty is that 44:41.147 --> 44:43.583 Marty's like, well, what, what the fuck's happening? Like, why is this guy after me? 44:43.663 --> 44:46.262 He's like, oh, you killed this guy's dog. That's right. He's like, what are you 44:46.762 --> 44:50.353 talking about? And, you know, they think he killed this dog named Boudreaux. And Marty's 44:50.853 --> 44:54.091 like, no. He's like, I threw a stick of dynamite like away or something, 44:54.123 --> 44:57.300 or the dog went to fetch after it. The guys that he was there to 44:57.316 --> 45:00.829 kill were playing, uh, were flushing games 45:00.910 --> 45:03.950 out of the brush with dynamite. 45:04.450 --> 45:07.310 Oh, Boudreaux is a retriever to fetch it. So the dog went and fetched the 45:07.810 --> 45:11.430 dynamite, and it wasn't even— Martin was just there. It wasn't his doing or whatever. 45:11.930 --> 45:15.270 Yeah, um, but he's still being blamed for it. Yeah, so he got— and he's 45:15.770 --> 45:19.350 saying like, I'm not joining your— yeah, your union. Like, I'm done. 45:19.850 --> 45:22.970 I'm actually doing my last job. I'm gonna do this, and then you're never gonna 45:23.470 --> 45:26.650 see or hear from me again. Yeah, right. And then the waitress comes back 45:27.150 --> 45:29.970 to the table as they both kind of get spooked at the same time. 45:30.470 --> 45:34.270 And the way that, uh, Grocer gets up, and it's It's like so chaotic the 45:34.770 --> 45:37.330 way that they get up and leave the place. And Martin like knocks the plates 45:37.830 --> 45:40.810 over. And I love as he's backing out the door with the gun still trained 45:41.310 --> 45:44.730 on Grocer, goes, ooh, ooh, ooh, ooh. Yeah. Like, I love that for some reason. 45:45.230 --> 45:48.470 This is like so funny. Yeah, just trying to cause chaos. 45:48.970 --> 45:51.750 But Grocer makes it clear to him, no scabs. Like, when we build this union 45:52.250 --> 45:55.170 thing, we're not gonna allow scabs. Right. You're gonna— you're enemy number one, basically. 45:55.670 --> 45:59.520 You're an enemy, yeah. Like, right, like this is a big deal. Okay, 46:00.020 --> 46:03.200 so he then calls Oatman, and he does— and is this when he fires 46:03.700 --> 46:07.180 Oatman? No, I think that's later. Yeah, that's later. But yeah, he calls him— 46:07.680 --> 46:09.400 oh, that's right, he calls him. Oatman's like eating, and he's kind of like, 46:09.900 --> 46:12.480 you know, uh— oh, that's right, because it's the reunion. It's time to— he and 46:12.980 --> 46:14.840 Debbie are gonna go to reunions together, and he's like having second thoughts, and he's 46:15.340 --> 46:17.340 like trying to talk to Oatman, and Oatman's trying to talk him down. It's like, 46:17.840 --> 46:19.840 this is me breathing. I want you to realize you're breathing. Wait, do you want 46:20.340 --> 46:22.160 me to realize I'm breathing, or you want me to say that I'm breathing? 46:22.500 --> 46:25.640 Say it. He's like, you know, this is like Oatman being as good a therapist 46:26.140 --> 46:28.730 as possible. First of all, He knows Martin is, you know, I think at least 46:29.230 --> 46:32.500 hundreds, if not 1,000-plus miles away. Like, I think New York is where Othman's based, 46:32.790 --> 46:36.730 and maybe it's LA. But he's like, you know, he's just eating his lunch, 46:37.230 --> 46:39.650 and like, but he's helping. He's trying to help Martin, right? And so— And Martin 46:40.150 --> 46:43.790 is calling Othman at different times, right? He's calling him crazy times of night. 46:44.290 --> 46:47.670 He'll get the voice machine, and then if he starts leaving a 46:48.170 --> 46:51.070 message, he picks it up. So you could tell, like, how terrified the therapist— he's 46:51.570 --> 46:54.810 basically not leaving his phone in case Martin calls, you know? 46:55.310 --> 46:56.350 Even though it's the last thing he wants to deal with. Exactly. He doesn't wanna 46:56.850 --> 47:00.730 piss him off. Yeah. But Martin is late 47:01.230 --> 47:04.690 to pick up Debbie, I believe, right? Like, yeah. So, 47:05.190 --> 47:09.110 and so he brings her flowers and she 47:09.610 --> 47:11.790 has a great line about like, you know, oh, hey, cool, you're here, you know, 47:12.290 --> 47:14.200 whatever. Like, my dad's down the hall, he wants to say hi to you. 47:14.450 --> 47:15.980 I'll just go put these in some rubbing alcohol. 47:17.570 --> 47:20.930 And then he like, he chucked the flowers too. Yeah, 47:21.430 --> 47:24.130 yeah, yeah. He did like, kind of like a valet key toss, not like a 47:24.630 --> 47:28.010 whip 'em in the face. It was good. I mean, unless those were thorny roses, 47:28.510 --> 47:32.080 in which case she just got scratched up badly. Uh, so he goes and 47:32.580 --> 47:36.080 he starts talking to Debbie's dad. Yeah, yeah. And, uh, you know, Debbie's dad's 47:36.580 --> 47:40.480 obviously like, fuck you, dude. You know how much my daughter suffered 47:40.980 --> 47:43.960 because of your ass leaving her and everything? Like, I would be like— Oh, 47:44.460 --> 47:47.420 he basically says something like, I'd hoped you died. I figured that's the best possible— 47:47.920 --> 47:49.160 I hoped you died, and yet here you are, you know? And he's like, 47:49.660 --> 47:51.220 yeah, no. And he goes— and he says something about like, so did you end 47:51.720 --> 47:53.520 up how I thought? Was I right about you or wrong? You know, like, 47:54.020 --> 47:57.760 I thought you'd be a layabout, pot-smoking, flannel-wearing, you know, coffee shop 47:58.260 --> 47:59.920 type, whatever. And he goes, no, no, I went the other way, you know, 48:00.420 --> 48:03.447 corporate 6 figures. I wear suits. I travel a lot. 48:03.675 --> 48:06.457 You know, I execute with a killer instinct or something like that. 48:09.143 --> 48:11.102 And this is another one where he tells the guy straight up, he's like, 48:11.151 --> 48:14.567 I'm a professional hitman or a professional killer. He goes, oh good, that's a growth 48:15.067 --> 48:18.038 industry. Um, 48:18.150 --> 48:21.732 so, so he and Debbie now head to the reunion, 48:22.232 --> 48:24.619 and, uh, when, when, 48:25.781 --> 48:28.742 uh, when they walk in, Marty saw like, I should have brought my gun. 48:29.238 --> 48:31.786 And she's like, what'd you say? He's like, ah, it should be fun. 48:32.379 --> 48:35.327 Because he did, he almost brought it. He sort of like, you know. And there 48:35.827 --> 48:39.237 was a point too where, uh, I don't remember who called Martin, maybe it was 48:39.269 --> 48:42.554 Marcel at one point, like left a message or something. But basically we see that 48:43.054 --> 48:46.159 someone else— and we don't see exactly— is in Martin's hotel room and sees the 48:46.659 --> 48:50.309 invitation to the reunion, right? It, it's the killer from Europe, whatever, the guy that's 48:50.809 --> 48:53.226 there to hit him. Uh, fake face guy. Fake face guy. We don't technically see 48:53.726 --> 48:56.303 that, but it is pretty inferred pretty clearly that he now knows where Martin is 48:56.399 --> 48:59.718 for the evening. Yeah. Um, so yeah, so Marty and, and Debbie are at the 49:00.218 --> 49:03.757 reunion. Marty is so flinchy when he's meeting people. It's, it's funny, 49:03.853 --> 49:06.659 you know, it's a symptom of, A, just like what he does, but also, 49:06.835 --> 49:09.817 I don't have my gun. I always have my fucking gun. Yeah. 49:10.265 --> 49:13.808 Uh, so it's really just someone like thrusting their hand out to him 49:14.308 --> 49:17.254 scares the shit out of him. Yeah. They run into a guy. I love this 49:17.754 --> 49:19.563 guy. The tall guy they run into is like a lawyer, and he talks about 49:20.063 --> 49:22.790 how he does like, no, mostly Like you know, a little personal injury, a little 49:23.290 --> 49:26.610 divorce, little like mergers. Basically all this stuff. Yeah. And he's like, 49:27.110 --> 49:29.430 personal injury—it's all kind of the same thing. As he goes, I'm gonna use that 49:29.930 --> 49:32.770 line. I'm gonna steal that line. And he gives him a pen for for high 49:33.270 --> 49:35.810 high quality clients or something like he says. Yeah. Instead of a card, he gives 49:36.310 --> 49:38.590 him a pen, you know, and everything. And and they're just like, okay. And it's 49:39.090 --> 49:42.750 so funny. Every time Marty and Debbie need to leave talking to someone, 49:43.250 --> 49:44.870 it's sort of like, hey, do you want to go somewhere else? Yeah. And they 49:45.370 --> 49:48.056 just leave. It's like it's like we need to talk to. Over there, you know, 49:48.121 --> 49:51.654 it's like they don't really have little escape hatch phrases, so they're just saying whatever 49:52.154 --> 49:55.477 they have to to just walk away. It's so uncomfortable. And, and Paul, 49:55.910 --> 49:59.075 uh, the Jeremy Piven character, so clearly was, you know, 49:59.862 --> 50:02.881 not the cool guy in high school and is trying to prove that he's changed 50:02.897 --> 50:06.704 and he's different now. And the way that he's talking, you know, the classic 50:06.768 --> 50:10.318 like confident nerd Anthony Michael Hall type character 50:10.527 --> 50:13.868 mentality. Yeah. Uh, and at one point Marty asked him 50:14.368 --> 50:17.820 like, oh, how's, how's it going? And he goes, goes, it's a festival of pain. 50:19.010 --> 50:22.050 Yeah. And there's like a, a woman walks up to them and says hi to 50:22.550 --> 50:25.590 Marty, and she's pretty blonde, she's got like a little dress, a little party dress 50:26.090 --> 50:29.270 on. And, and I think Jenny Slater, I think, is her name, or whatever. 50:29.770 --> 50:32.510 And so Paul keeps going, hey Jenny Slater, hey Jenny Slater, hey Jenny, hi Jenny, 50:33.010 --> 50:36.290 while she's talking to Marty. And she finally is like, um, hi. And he's like, 50:36.790 --> 50:38.370 Paul— I don't remember his last name, whatever. It's like, we had like— and she's 50:38.870 --> 50:41.437 like shaking her head like she doesn't know. We had 11 classes together, like sat 50:41.937 --> 50:43.681 next to you for like 2 years or like whatever. And she's like, nope, 50:43.697 --> 50:47.032 sorry. Like, he's, he's pretty good. 50:47.144 --> 50:50.688 He's really, uh, he's really reaching here. Yeah. Um, 50:50.928 --> 50:54.888 so Debbie and Marty, like, oh, so one of the per— uh, one of 50:54.920 --> 50:57.774 the people at the reunion has a baby. Oh yeah. And this is where Marty 50:57.806 --> 51:01.782 is kind of like holding the baby, looking at it very like much 51:01.879 --> 51:05.422 the way that, uh, that Arnie in Terminator picks 51:05.922 --> 51:08.516 up that little kid by his overalls and kind of looks at him just like, 51:08.693 --> 51:12.465 what the fuck is this? But It's definitely affecting him, like the way Marty's 51:12.965 --> 51:16.480 really like taking time and looking at this and kind of having realizations while 51:16.980 --> 51:19.339 he's doing so. And a fantastic music cue too. It's David Bowie and Queen, 51:19.467 --> 51:21.700 Under Pressure, playing over this. And this is the other thing too I wanna say, 51:21.716 --> 51:25.137 like sometimes movies are written and sort of 51:25.313 --> 51:28.590 ideated and you know they're gonna have to have a great soundtrack in order to 51:28.686 --> 51:31.802 work. And I feel like this was that, that was for this movie, that was 51:31.834 --> 51:35.448 true of this movie from the beginning. Because like Minnie Driver's character is a radio 51:35.948 --> 51:39.093 DJ. So there's, and literally the whole back to the '80s weekend or whatever 51:39.110 --> 51:42.120 like central to the plot in a lot of ways. 51:42.210 --> 51:45.570 The reunion was always gonna be DJ'd and have a bunch of 51:46.070 --> 51:48.650 like music and stuff, you know? And so it's like, this was always gonna be 51:49.150 --> 51:51.670 a banger soundtrack. Like you gotta get 20 songs in there. Yeah. It's at least— 51:52.170 --> 51:53.910 You need the needle drops. You're gonna have to— and again, sort of like thinking 51:54.410 --> 51:57.570 about Swingers where the music was such a major part of that movie and they 51:58.070 --> 52:01.230 spent half their budget. And obviously this was a much higher budget film, but like 52:01.730 --> 52:05.150 they probably— I can't imagine what the licensing rights cost them for this movie. 52:05.650 --> 52:06.890 I would love to see— Probably a couple of million, I would guess. I could 52:07.390 --> 52:09.170 see that. Yeah, for sure. 'Cause the total budget was like $16, I think it 52:09.670 --> 52:12.966 said. Yeah. Something around $15, $16. 2 million of that maybe to go to 52:13.094 --> 52:16.613 all these these recording artists to play these these songs. 52:16.741 --> 52:20.083 It's it's it's remarkable like what they were able to do with this. But yeah, 52:20.163 --> 52:24.083 you know great music being played, and especially if like budget constraints led to them 52:24.115 --> 52:27.537 making certain choices about the soundtrack that makes it even more impressive. 52:27.650 --> 52:30.237 Yeah yeah yeah. You know where it's like oh shit we couldn't afford Bad to 52:30.737 --> 52:33.434 the Bones. Right. So we picked a bunch of good songs. Well, and it's and 52:33.934 --> 52:35.795 this is I think too why I kind of equate this with High Fidelity is 52:35.843 --> 52:39.439 that and knowing that Cusack has a writing credit on. on this. I feel like 52:39.939 --> 52:42.470 this is very— this movie and High Fidelity are both very much like, this is 52:42.566 --> 52:46.158 John Cusack's personal taste in music. It's very much 52:46.190 --> 52:49.044 like if you watch a Bill Lawrence TV show and you hear the music with 52:49.060 --> 52:52.283 Ted Lasso, Shrinking, Cougar Town, Scrubs, you know, 52:52.363 --> 52:55.747 any of those kind of shows, the music in them is always really good. 52:55.795 --> 52:59.403 It's this kind of like particular brand of like indie-adjacent, 52:59.419 --> 53:02.722 folk-adjacent kind of, you know, music. Mm-hmm. And it's all Krista 53:03.222 --> 53:05.752 Miller. It's Bill Lawrence's wife and the actress who's on Shrinking. King and was on 53:06.252 --> 53:09.358 like the Drew Carey Show and stuff. She picks— she's the music supervisor for like 53:09.858 --> 53:12.803 all of his series, and you can tell that there is a, a through line 53:12.948 --> 53:15.768 of like the kind of music you're hearing. And there is some— there is so 53:16.268 --> 53:20.784 much easy connection between the very like early '80s-centered 53:20.816 --> 53:23.845 kind of like— we didn't call it alternative music back then, but that, that sort 53:24.345 --> 53:27.627 of off the beaten path, not quite top 40, you know, new wave 53:28.127 --> 53:30.351 and etc. A lot of like, uh, reggae and a lot of like kind of 53:30.851 --> 53:33.964 different stuff And then what they— what is all throughout High Fidelity, like Massive Attack 53:34.464 --> 53:37.257 is referenced in both movies. That's not a coincidence. Yeah, that's not a band that 53:37.757 --> 53:41.031 coincidentally gets referenced in 2 John Cusack movies released 4 years apart, right? You know 53:41.531 --> 53:44.790 what I mean? Like, so just an interesting thing. I think it's very, very Cusack-oriented. 53:44.950 --> 53:48.741 And for the character, it's more believable that the character 53:49.241 --> 53:52.660 who becomes a hitman is more into this, like, you know, 53:52.741 --> 53:56.130 lesser-known music, the kind of darker music. He's not a Hall and Oates guy. 53:56.210 --> 53:58.957 No, this, this guy loved Joy Division. Yeah, you know, for sure. 53:59.021 --> 54:02.570 Like Um, all right, 54:03.070 --> 54:05.430 so we are, uh— Well, they sneak off to the nurse's office. We should mention 54:05.930 --> 54:09.270 this. That's right. Yeah, because they go to make out and then, and, and Debbie's 54:09.770 --> 54:11.250 like, no, no, there's something missing. Hold on a second, you gotta stop, you gotta 54:11.750 --> 54:13.510 stop. He goes, oh no, no, is this too fast? She goes, well, yeah, 54:14.010 --> 54:17.330 but I'm forgetting something. And she pauses and she goes, oh right, and she slaps 54:17.830 --> 54:21.370 him across the face super hard and then goes, welcome home. I love 54:21.870 --> 54:25.090 that moment. And there's a quick shot before they go in the nurse's office of 54:25.100 --> 54:28.645 Just like they're watching from the bleachers as everyone is like dancing and 54:29.145 --> 54:33.474 stuff. And it's just a perfect encapsulation of how lame/fun 54:33.974 --> 54:37.420 these events are. Like, you just have to embrace how much it kind of sucks 54:37.645 --> 54:41.078 to really have fun at it. And everyone's doing that. Like, I, I like that 54:41.578 --> 54:44.206 shot a lot. The scary part for us, man, is our 20th is not far 54:44.706 --> 54:47.976 away. We're like a couple years, right? Isn't that— Our 20th has passed. 54:48.072 --> 54:51.409 Our 30th is coming up. Oh my God, that's right. It was the 20th. 54:52.270 --> 54:55.709 That was the 20th. You and I hung out at the 20th. 54:56.209 --> 54:58.200 The 20th was fun. The 20th wasn't bad, but it was at like a restaurant, 54:58.450 --> 55:00.450 wasn't it? I don't remember a whole lot of that, which is not great. 55:00.950 --> 55:03.990 But yeah, anyway, yeah, the 30th is coming up. That's fun. That's good. I like 55:04.490 --> 55:08.610 that. Definitely not dying. Okay, cool. So as everyone walks into this reunion, 55:09.110 --> 55:12.470 there's of course like the coordinator woman who has the table and everyone 55:12.970 --> 55:17.710 has a name tag with their yearbook picture in it, right? That's cruel. 55:18.210 --> 55:21.630 So seriously. So fake face guy walks up to the table and she like looks 55:22.130 --> 55:25.703 at him kind of surprised. Like, I'm like the yearbook nerd. I know everybody who 55:26.203 --> 55:28.788 went here. She was probably class president or whatever. She knew everybody. Yeah. So, 55:28.885 --> 55:31.488 and the way the guy looks, and he just grabs one of the, uh, 55:31.859 --> 55:35.870 name tags, he goes, it is I, Sidney Feldman. 55:36.225 --> 55:39.431 With like some kind of Eastern European accent. It's hard to place, but he's— 55:39.688 --> 55:41.952 he sounds vaguely, uh, Slavic. 55:43.797 --> 55:47.066 Um, so then, uh, there's this guy Bob who's kind of like 55:47.566 --> 55:51.130 a jock kind of— Bobby Beamer. Dude, and, uh, right, he's the car 55:51.242 --> 55:54.757 dealer guy. He was actually in, uh, Walking Dead for 55:54.789 --> 55:58.850 a bit. Okay. And my daughter has been watching Walking Dead very recently 55:58.962 --> 56:01.594 and saw this guy, and then she sees him and then she's like, oh shit, 56:01.610 --> 56:04.852 like losing her mind. I love watching her make those realizations 56:05.352 --> 56:07.532 because like I've been doing that my whole life, you know. So I remember him 56:08.032 --> 56:11.224 playing a bully as a younger kid, like a young— when he was younger, 56:11.240 --> 56:14.401 so maybe late '80s, early '90s. Yeah, the bully in something. 56:14.449 --> 56:16.441 I'd have to look it up. I'm not I don't care enough because he's a 56:16.941 --> 56:20.346 small character. Yeah, so, but he's like, you know, the guy who becomes a car 56:20.394 --> 56:23.527 dealership owner after high school, right? And it looks 56:24.027 --> 56:26.500 like him and Martin are gonna get into it because he's just like looking for 56:27.000 --> 56:30.677 some shit. He's drunk or whatever. And Martin's ability to de-escalate 56:31.177 --> 56:34.646 here is really incredible, right? So he, he de-escalates. We're not 56:34.678 --> 56:37.844 in a fight anymore. Like, what's really going on? Using some of what he's learned 56:38.344 --> 56:41.234 in therapy because he's like, oh, you do, do you really imagine there's some pent-up 56:41.734 --> 56:44.590 up thing between us for all these years. Like, there is no us, man. 56:45.090 --> 56:47.730 That you and I do not exist. Like, there's you and there's me. There's no 56:48.230 --> 56:50.410 us. He's like, what do you— who do you want to hit? Because it's not 56:50.910 --> 56:54.010 me. Like, it's Dr. Oatman did a really 56:54.510 --> 56:58.050 good job with Marty, I think. And then Bob pulls out, he's like, I have 56:58.550 --> 57:01.170 a poem. And Marty's like, oh yeah, go ahead and read your poem. And he 57:01.670 --> 57:04.290 lets him read like a couple lines. He's like, hey, that's great, man. He's like, 57:04.790 --> 57:06.620 oh, there's more. He's like, just read the last line. Skip to the end. 57:07.440 --> 57:11.100 For a while. He's like, for a while. 57:11.370 --> 57:14.450 It's beautiful. That's amazing, dude. Uh, 57:14.950 --> 57:18.210 but again, you know, showing Marty like is, uh, professionally violent and 57:18.710 --> 57:22.430 personally completely like nonviolent, you know? Yeah, it'd be interesting. I think like taking— I 57:22.930 --> 57:25.010 would want to take— if we took, uh, I don't know if you ever saw 57:25.510 --> 57:28.610 the movie America's Sweethearts. Uh, John Cusack— it's not in the '90s, so we probably 57:29.110 --> 57:31.740 won't get to it, but it's early 2000s. It's like John Cusack and Julia Roberts. 57:32.270 --> 57:35.070 Catherine Zeta-Jones is in it. Billy Crystal. It's actually a very funny movie. Hank Azaria 57:35.570 --> 57:38.771 is actually You'll also learn that as well. Very funny movie about this pair of 57:39.271 --> 57:42.570 actors who are America's sweethearts. They like are always in movies together. It's John Cusack 57:42.634 --> 57:45.920 and Catherine Zeta-Jones. Okay. And then they are together and then they 57:46.420 --> 57:48.885 break up and there's this whole like storyline, right? And it's a funny romantic comedy. 57:49.350 --> 57:52.860 But there is his character after the breakup goes 57:52.892 --> 57:56.883 to this like zen healing, you know, place, like a rehab 57:57.383 --> 58:00.329 center practically, but becomes like very zen and very like, you know, 58:00.489 --> 58:03.855 um, and like kind of like almost annoyingly like, I'm cool and I'm calm, 58:03.871 --> 58:07.300 whatever. I would love the idea of like a movie where that, that guy 58:07.800 --> 58:11.080 who's actually that guy is also a professional killer. Yeah, yeah. Just because that's what 58:11.580 --> 58:14.040 he's good at for paying the bills. But like in his own life, he is 58:14.540 --> 58:16.940 like, you know, Caine from Kung Fu without the actual fighting. Like, you know what 58:17.440 --> 58:20.110 I mean? Just like very like— I just feel like that could be very funny. 58:20.280 --> 58:24.080 Like mix these 2 John Cusack characters. Hell yeah, dude. 58:24.580 --> 58:26.260 Um, but yeah, so he decides to go back to his locker. He's like, 58:26.760 --> 58:28.220 tells Debbie, hey, I'll catch up with you, but I'm gonna go run by my 58:28.720 --> 58:31.100 locker. And sure enough, he's hidden— you know, he must have hidden a joint in 58:31.600 --> 58:34.020 his locker 10 years ago. He pulls it out. It's dust, but it's kind of 58:34.520 --> 58:37.050 a neat little neat little thing. You know, after he breaks into whoever's locker that 58:37.550 --> 58:40.753 is now, but as he's standing there, who comes around the corner? But our our 58:40.801 --> 58:44.792 ghoul friend. Yes, and this is a good fight. Cusack was 58:44.824 --> 58:47.774 trained for some decent choreography here. Fantastic. 58:47.854 --> 58:51.252 I was really shocked by it. You know, and definitely not not 58:51.752 --> 58:54.843 stunt doubles during a lot of the. I mean, it's clearly you 58:55.343 --> 58:58.722 know them both in in frame doing this thing. Mirror in 58:58.771 --> 59:01.768 the bathroom by the English Beat playing. I think yes, 59:01.961 --> 59:05.086 excellent song. And uh. God, yeah, 59:05.102 --> 59:08.451 this fight is fantastic. It's really well done. Yeah, great, great martial 59:08.951 --> 59:12.152 science happening back and forth. I would say better standing sidekick than we got from 59:12.652 --> 59:16.077 Jean-Claude Van Damme. So at least— yeah, at least with his left foot, Cusack could 59:16.577 --> 59:18.705 beat Van Damme if it was a left-footed fight. 59:19.185 --> 59:22.582 Um, so it ends with, uh, 59:23.111 --> 59:27.020 you know, a real struggle on the ground and what's gonna happen. And Marty reaches 59:27.116 --> 59:30.096 for the only weapon that he has, which is the pen he was given by 59:30.596 --> 59:33.861 his lawyer friend earlier. That's right. And then jams it into Fake Face's neck. 59:33.990 --> 59:37.330 Yep, fake face's real neck, uh, and it's pretty 59:37.830 --> 59:40.510 gnarly, man. Stabs him a bunch of times. It's very bloody. Very bloody. So this 59:41.010 --> 59:43.570 whole movie, there's not been a lot of carnage. I mean, there was like the 59:44.070 --> 59:47.150 guy getting shot by Aykroyd at the beginning, the guy on the bike getting shot, 59:47.650 --> 59:51.150 but it wasn't a lot of close-up, like— Yeah, this is the most personal of 59:51.650 --> 59:55.370 the kills in it. It's the bloodiest, the way that the action scenes ever get, 59:55.870 --> 59:58.850 um, you know. And, and yeah, like, the, the action scenes being scattered throughout the 59:59.350 --> 01:00:01.630 movie make a lot of sense. You know, this is not a straight action or 01:00:02.130 --> 01:00:05.481 a straight rom-com or a straight anything else, right? This is a very blended sort 01:00:05.981 --> 01:00:08.788 of movie, and I love that they punctuate it just the right amount of time. 01:00:08.853 --> 01:00:12.802 It seems like every, you know, 20-ish minutes you get like a pretty decent-sized, 01:00:13.108 --> 01:00:15.773 you know, fight of some kind. Yeah. Uh, and this is the one here, 01:00:15.837 --> 01:00:19.434 and it's great. The problem for Martin is, is that Debbie comes around the corner, 01:00:19.916 --> 01:00:23.271 uh, and sees this and sees him covered in blood 01:00:23.287 --> 01:00:26.451 with a dead body in front of him, sweating. You know, he's holding the pen. 01:00:26.515 --> 01:00:30.158 I mean, everything. Yeah. And again, we get another It's not me. And she just 01:00:30.190 --> 01:00:32.693 freaks out and runs back down the stairs to get away from him. 01:00:32.773 --> 01:00:36.464 Realistic freakout, by the way, because I feel like a lot of movies would film 01:00:36.964 --> 01:00:39.769 that where she's like, what are you doing? Would stand there and have like a 01:00:40.269 --> 01:00:43.747 10-minute conversation with him, but she's gone. Yeah, but then Paul comes 01:00:44.247 --> 01:00:46.764 along, right? And he's just like, hey, what's going on? And where's our boy? 01:00:46.892 --> 01:00:49.603 What's going on? And Marty's just like, Paul, I need you to help me. 01:00:50.005 --> 01:00:53.598 And Paul, to his credit, fucking soldier, good-ass friend, right? 01:00:54.200 --> 01:00:56.920 I don't know if I could do that. You haven't seen this guy in 10 01:00:57.420 --> 01:01:00.860 years, and now he's, he's hanging out over a dead body, 01:01:01.360 --> 01:01:04.700 person you don't know. Yeah. I don't, I don't know if I'm that friend. 01:01:05.200 --> 01:01:06.480 I gotta be honest with you. I don't know. I don't think I could do 01:01:06.980 --> 01:01:10.160 it. I'd be like, dude, deuces. Here's the thing. Yeah, won't tell anybody. 01:01:10.260 --> 01:01:13.660 Bye-bye. Like, Marty could be like, hey, he's not even real. Look at his face. 01:01:14.160 --> 01:01:17.990 Right? He's a rubber mask. They pull, uh, they pull like the banner for homecoming, 01:01:18.220 --> 01:01:21.700 whatever's up at the school, the big paper banner, and they're wrapping this body 01:01:22.200 --> 01:01:25.850 in these, uh, big paper signs, and they take him down. And luckily the school 01:01:26.350 --> 01:01:29.590 has like the Freddy Krueger incinerator in the basement. Big furnace. This is a big 01:01:30.090 --> 01:01:33.230 furnace block. Yeah, it is. We got some furnaces coming up. And, 01:01:33.730 --> 01:01:36.410 and, uh, for another movie we talked about, I did some research on the, 01:01:36.910 --> 01:01:40.330 the temperature a furnace would have to get to, to, to properly dispose of a 01:01:40.830 --> 01:01:44.650 body. It is about 1,800 degrees. I don't think that's a normal— 01:01:45.150 --> 01:01:47.880 even for heating a school, which is obviously— it's a huge like single building school. 01:01:48.470 --> 01:01:51.670 I still don't know that 1,800 degrees is where you'd actually get to for 01:01:52.170 --> 01:01:54.160 a furnace like that. So this body is not really going to go away. 01:01:54.270 --> 01:01:57.490 It's going to get gross. It's gonna stink. It's gonna stink. Like, sure, it's gonna 01:01:57.990 --> 01:02:01.490 smell. It's real bad. But they do— they dispose 01:02:01.990 --> 01:02:05.470 of the body in the incinerator. Paul helps. Um, they go back 01:02:05.970 --> 01:02:09.250 up where the, the reunion has almost cleared out. They head back up. 01:02:09.750 --> 01:02:12.310 There's a handful of people not really dancing anymore, just sitting around. Um, they go 01:02:12.810 --> 01:02:15.030 and he gets a club soda and Paul gets— he gets like a drink, 01:02:15.530 --> 01:02:18.110 like a double scotch or whatever. And they haven't cleaned themselves up. No, they're both 01:02:18.610 --> 01:02:21.670 still— he's just like a disaster. He's got blood on him and stuff. And, 01:02:22.170 --> 01:02:25.030 and, and Paul turns to Martin and goes and he says something like, I'm Paul 01:02:25.530 --> 01:02:27.240 again. I can't remember his last name. Paul whatever, you know, I'm in real estate. 01:02:27.250 --> 01:02:30.990 What do you do, Martin? It's like, 01:02:31.490 --> 01:02:34.710 now he's, now he's not happy about it. Oh man. 01:02:35.210 --> 01:02:38.650 And, uh, and as Marty's leaving, uh, to the attorney guy, 01:02:39.150 --> 01:02:42.770 he's like, oh, take care, Ken. Thanks for the pen. Yeah, that's right. 01:02:43.270 --> 01:02:45.870 Oh man. So he heads back to the hotel and, 01:02:46.470 --> 01:02:48.930 uh, he actually gets on the phone. He's like watching TV or whatever. He gets 01:02:49.430 --> 01:02:52.565 on the phone and He calls Dr. Oatman, and this is the only Oatman interaction 01:02:53.065 --> 01:02:56.689 I don't like because it's so unrealistic. But he calls and is leaving a message 01:02:56.737 --> 01:03:00.076 for Dr. Oatman about like, Dr. Oatman, uh, it's not you, it's me, 01:03:00.284 --> 01:03:02.756 um, but I don't think this is working anymore. I'm gonna fire you. You know, 01:03:02.772 --> 01:03:04.954 like, we're not gonna do this. This isn't helping. But like, blah blah blah, 01:03:05.002 --> 01:03:08.998 whatever. Uh, I want you to sit and realize that this is me firing 01:03:09.030 --> 01:03:12.304 you. Like, kind of like referencing this thing before. When we then cut to 01:03:12.384 --> 01:03:15.257 Oatman and he is trying to get his answering machine to stop because it is, 01:03:15.385 --> 01:03:18.977 it is out loud You know, Martin's message is being played out loud while 01:03:19.477 --> 01:03:22.744 Oatman is in session with a client. Oh yeah, that's ludicrous. That would never work 01:03:23.244 --> 01:03:26.191 out that way. Either the the there would be no audio on the you know 01:03:26.335 --> 01:03:28.660 answering machine. It would be a silent thing, or it wouldn't ring. There would be 01:03:29.160 --> 01:03:32.443 something that he would be smarter about. There's no way that any that is 01:03:32.943 --> 01:03:34.976 going to come through during a session. To me, that doesn't work at all, 01:03:35.328 --> 01:03:37.076 and actually kind of popped me out of the movie a little bit. It's like 01:03:37.576 --> 01:03:39.625 the one part of the movie that I'm like, fuck that. Like everything else has 01:03:39.657 --> 01:03:43.050 felt so careful. Yeah, and this is like so just. That just, just, just, 01:03:43.550 --> 01:03:46.890 just would never happen like that. It's just not possible that that would be the 01:03:47.390 --> 01:03:50.309 reason Oatman has to freak out, whatever. They honestly— and they didn't even need it. 01:03:50.710 --> 01:03:53.410 That's the other thing too, that joke isn't even that funny. He could have just 01:03:53.910 --> 01:03:55.410 called and fired him and been done with it, and we didn't even need to 01:03:55.910 --> 01:03:58.930 see Oatman's reaction. You know what I mean? Anyway, not that it— Like magic answering 01:03:59.430 --> 01:04:03.260 machine, we had it in Swingers, you know, that's a— it's a recurring theme. 01:04:03.610 --> 01:04:07.250 Yeah. Um, but yeah, so he, he fires the therapist. 01:04:07.750 --> 01:04:11.234 Uh, Uh, does Debbie show up? Debbie shows up and is basically like, 01:04:11.395 --> 01:04:14.022 tell me what the fuck is going on. Like, like, and he, and he tells 01:04:14.280 --> 01:04:17.730 her the same story he's been telling her, but she's like, people joke about 01:04:18.230 --> 01:04:21.143 that. Like, that's not real. You're not— people joke about the horrible things that they 01:04:21.643 --> 01:04:24.056 do. They don't go do them. Yeah. Um, and he says, you're a psychopath. 01:04:24.121 --> 01:04:27.685 And he says, no, no, no, no, a psychopath kills for no reason. I kill 01:04:27.734 --> 01:04:30.201 for money. It's a job. That sounded bad. 01:04:31.679 --> 01:04:35.713 Like, yeah. And, and Debbie's Like done. 01:04:35.809 --> 01:04:39.055 She's pissed. She's like, "Hey, guess what? You don't get to have me." Like fuck 01:04:39.103 --> 01:04:43.233 you. Yep. We get a cut back to Marcella. Yes. And so 01:04:43.297 --> 01:04:46.029 he's on the phone with Marcella, and she's at the office doing one of my 01:04:46.529 --> 01:04:50.046 favorite things: pouring gas all over, you know, about to incinerate it, 01:04:50.110 --> 01:04:53.404 move on to the next place. Which actually reminds me: we 01:04:53.904 --> 01:04:56.763 skipped at one point the best Marcella scene in the movie, and I think it 01:04:57.263 --> 01:05:00.491 just it gets thrown in between other other calls with with Martin. She's on the 01:05:00.991 --> 01:05:03.959 phone. And so Martin calls her, and so she cuts over, whatever, to talk to 01:05:04.459 --> 01:05:07.427 Martin and says something. And then she's like back to, hey, uh, uh, 01:05:07.957 --> 01:05:10.944 Brenda? Yeah. Oh, hold on a second, another call's coming through. She clicks over and 01:05:11.444 --> 01:05:15.167 she goes, yeah? No, no, it was 5,000 rounds of 9mm 01:05:15.667 --> 01:05:19.357 subsonic. You had that on the fucking list. I gave you that. Well, I don't 01:05:19.857 --> 01:05:22.809 give a fuck. You get it here now. Clicks back over. Brenda? 01:05:23.275 --> 01:05:26.021 Hi. Yeah. No, no, no, you're gonna season it. No, no, stop it. 01:05:26.980 --> 01:05:30.270 Brenda, carrots and celery are just the base of a soup. You're gonna add the 01:05:30.770 --> 01:05:34.750 chicken and the seasoning later. Yeah, jumping back and forth between the like weapons 01:05:34.810 --> 01:05:38.650 purchasing and the like giving her friend a Supra. So perfect. 01:05:39.150 --> 01:05:42.000 Yeah, she, she was really, she was really great throughout this. 01:05:42.770 --> 01:05:46.130 Um, yeah, so she's like, hey Marty, I'm taking the office out here. And Marty's 01:05:46.630 --> 01:05:49.850 like, okay, hey, uh, take a look under your desk for me, like way up 01:05:50.350 --> 01:05:53.110 under there. And she pulls out this brick of cash, very, uh, There's Always Money 01:05:53.610 --> 01:05:56.490 in Gotta be like a couple hundred grand. Oh, 01:05:56.990 --> 01:06:01.010 man. The sheer volume of it. Yeah. Um, so, uh, and he's 01:06:01.510 --> 01:06:05.010 got, you know, he finally gets around to looking at his assignment. He's got 01:06:05.510 --> 01:06:08.490 his envelope. He's like, well, okay, everything's fucked, so you may as well do this 01:06:08.990 --> 01:06:12.710 job and not get killed. And, uh, he opens up and he 01:06:13.210 --> 01:06:15.470 said— I can't remember exactly what he says, but it's like, it's basically like, 01:06:15.970 --> 01:06:18.830 what dumb locker? Or, are you fucking kidding me? Something, whatever. Yeah, because it's fucking 01:06:19.330 --> 01:06:22.535 Debbie's dad. It's Debbie's dad is who he's been sent to kill. Right. And it's 01:06:23.035 --> 01:06:26.276 like he's got a choice to make, you know? Yeah. He's got a choice. 01:06:26.469 --> 01:06:29.905 So, so Debbie's dad is, uh, he's like jogging. Yeah. 01:06:29.986 --> 01:06:33.181 Right? We see him jogging and we see that he's being 01:06:33.293 --> 01:06:37.050 watched by Grocer. And, uh, and then we see 01:06:37.067 --> 01:06:40.278 that Marty is like speeding. Yeah, yeah. To try to get there really fast. 01:06:40.904 --> 01:06:44.228 And right as Grocer is about to take a shot at Debbie's dad, Marty kind 01:06:44.728 --> 01:06:46.620 of pulls his car in front of him. He's like, get in the fucking car. 01:06:46.684 --> 01:06:49.960 Yeah, yeah, yeah. Really cool scene there. You're a bad fucking guy. What'd you do? 01:06:50.217 --> 01:06:54.007 Yeah. And, and what Debbie's dad maintains is he's like 01:06:54.087 --> 01:06:57.122 a whistleblower of some sort, which— and who knows if that's 01:06:57.622 --> 01:07:00.092 how a snitch would refer to themselves. I think that's a good— Well, no, 01:07:00.108 --> 01:07:02.822 but that's— but that's the point is that— no, but he is, he is a 01:07:03.322 --> 01:07:06.258 snitch. He was doing criminal stuff and he is turning states, right? So in his 01:07:06.274 --> 01:07:09.727 mind, he's doing the right thing now, right? Right. And being punished for it. 01:07:09.807 --> 01:07:13.163 I think of whistleblower more as like, hey, my airline company 01:07:13.356 --> 01:07:16.850 isn't attaching the wings to the plane. You know, but yes, a snitch would— a 01:07:17.350 --> 01:07:20.370 snitch for organized crime would absolutely consider themselves a whistleblower, 01:07:20.870 --> 01:07:24.970 right? Like, for sure. But yeah, so we get back to Debbie's house, 01:07:25.470 --> 01:07:27.350 uh, which is for Stale, as we should mention. Like, he is planning on, 01:07:27.850 --> 01:07:31.710 like, leaving, right? Um, and, uh, they pull up and basically, 01:07:31.890 --> 01:07:35.190 you know, Debbie's there obviously still. And so she's like, what's he doing here? 01:07:35.690 --> 01:07:37.890 And Martin's got his weapons and he's like starting to tell— and he's basically just 01:07:38.390 --> 01:07:42.010 giving the whole story of, like, you know, what he's doing, the journey he's been 01:07:42.510 --> 01:07:46.572 on, like his mental and sort of emotional involvement, advancement over and 01:07:46.604 --> 01:07:50.148 all this stuff. And meanwhile, he's like shooting through the door and like protecting them 01:07:50.276 --> 01:07:54.093 from people. And it's just such a great shootout sequence throughout the house, 01:07:54.221 --> 01:07:57.621 really. Oh my God. And there's such a crew of guys coming after 01:07:57.653 --> 01:08:01.117 him. And the way that he's handling it, he's being so calm and like 01:08:01.438 --> 01:08:05.142 allowing himself to get in kind of a— like the type of argument 01:08:05.191 --> 01:08:08.542 where even if you're like at your kid's soccer game or something, 01:08:08.639 --> 01:08:11.621 you'd be like, you know what, we need to have this later. Like, this— we 01:08:12.121 --> 01:08:15.470 got something to pay attention to here. And he's fully engaging in it 01:08:15.534 --> 01:08:19.036 even though it's like, in this life-or-death situation otherwise, you know. Uh, 01:08:19.390 --> 01:08:22.860 really great. And he has, uh, he has Debbie and her dad like go 01:08:23.360 --> 01:08:25.801 up in the bathroom, get in the tub, right? Like, here's a gun. Yeah, 01:08:25.817 --> 01:08:29.014 yeah, yeah. And you hide and I'll come get you. Yeah, yeah. As he's going 01:08:29.046 --> 01:08:31.955 down and taking the dudes out. It's, it's good stuff. Um, 01:08:32.565 --> 01:08:35.313 he, uh, he finally, uh, 01:08:36.132 --> 01:08:39.715 comes face to face with Grocer. They're like on the opposite sides of 01:08:40.215 --> 01:08:42.701 the kitchen counter, like kind of shooting at each other. They realize that, you know, 01:08:42.846 --> 01:08:45.090 each are out of bullets. Well, they get out of bullets because the feds pop 01:08:45.122 --> 01:08:48.552 in and Grocer blows them away. And, and, and it's hard 01:08:49.052 --> 01:08:51.293 to tell if Marty actually— because he's sort of shooting in their direction, but Grocer 01:08:51.793 --> 01:08:54.548 is like very carefully shooting. Marty's almost got his eyes closed. Yeah, just kind of 01:08:55.048 --> 01:08:58.138 like, ah, you know, whatever. So the 2 feds are dead, the NSA guys, 01:08:58.154 --> 01:09:01.248 right? And then now Grocer and Marty are both out of bullets, uh, 01:09:01.841 --> 01:09:04.550 at least in the weapons that they were— that they had. And Grocer says, 01:09:04.582 --> 01:09:07.131 well, I got a couple more. I'll sell you one for 100 G's. And he 01:09:07.631 --> 01:09:11.079 goes, uh, yeah, sure. And so So, uh, he goes and like throws the 01:09:11.579 --> 01:09:14.131 gun into the room Marty's in and then goes up because as he goes to 01:09:14.631 --> 01:09:17.600 get it, he's gonna shoot him. And Marty turns with the CRT, the old school 01:09:18.100 --> 01:09:21.327 TV, and slams it onto Grocer's head. And let me just tell you, 01:09:21.664 --> 01:09:24.796 this is legit. Those things are dangerous as shit even when they're unplugged. 01:09:25.117 --> 01:09:28.667 Yeah, the mechanics inside or the— all the stuff inside a CRT monitor, 01:09:29.711 --> 01:09:33.213 like it straight up electrocutes him on the head like that. Dead for 01:09:33.713 --> 01:09:37.244 sure. Yeah, just destroyed, uh, smashing the screen straight 01:09:37.744 --> 01:09:40.910 over his face. It's so good. Uh, he, he didn't borrow that sick line 01:09:41.410 --> 01:09:44.650 from Demolition Man that, uh, that John Spartan used, which is, 01:09:45.150 --> 01:09:48.610 you're on TV! But, um, but it still was pretty effective. 01:09:49.110 --> 01:09:51.630 It worked. It worked okay. Maybe it would have been better like, oh, there's nothing 01:09:52.130 --> 01:09:54.290 on TV these days, right? Would have been good. I don't know. But yeah. 01:09:54.790 --> 01:09:58.710 So, so he ends up, uh, you know, he goes back upstairs and kind 01:09:59.210 --> 01:10:02.170 of silently knocks on the door. He's like, hey, hey. And she goes and like 01:10:02.670 --> 01:10:05.510 takes a shot in his direction. Well, she doesn't know who's coming, right? 01:10:05.910 --> 01:10:09.220 He's like, It's just me. And then, you know, the last thing he says is, 01:10:09.720 --> 01:10:12.920 uh, like, hey, will you marry me? Yeah, right, like Debbie. I know this isn't 01:10:13.420 --> 01:10:16.220 the right time. Not the right time. Will you marry me? And then the dad 01:10:16.720 --> 01:10:18.310 pokes up and goes, you got my blessing. 01:10:19.780 --> 01:10:23.100 Which really he should think maybe more than a second on. The guy did just 01:10:23.600 --> 01:10:26.600 save your life, but also your wife might be in like— or your daughter as 01:10:27.100 --> 01:10:29.240 his wife might be in constant danger, right? Yeah, yeah. For the rest of her 01:10:29.740 --> 01:10:33.180 life. Right. Um, yeah, so then it ends with, 01:10:33.680 --> 01:10:37.785 uh, with Debbie and Marty like driving off in their convertible, leaving beautiful gross point 01:10:38.285 --> 01:10:41.235 to go, you know, somewhere, explore the world. Yep. And, uh, 01:10:41.717 --> 01:10:45.071 and no, no epilogue. I love it. It really, like, from, from Grocer getting killed 01:10:45.571 --> 01:10:49.195 to the credits rolling is like 90 seconds. It's so quick. This is a 01:10:49.695 --> 01:10:52.437 very efficient— yeah, I mean, this is a type of movie, 01:10:52.710 --> 01:10:55.727 like you were talking about how good the, the screenplay is, 01:10:55.840 --> 01:10:59.435 is that this could have been like a 2-hour and 10-minute movie. Yeah, easily could 01:10:59.935 --> 01:11:02.388 have been padded out and, and wasn't, and it would have been unnecessary if it 01:11:02.404 --> 01:11:05.826 was. So Yeah. No, it's really fantastic that way. But that is 01:11:05.875 --> 01:11:08.848 Grosse Pointe Blank. Absolutely. All right, Steve. Well, 01:11:09.042 --> 01:11:10.756 this was, yeah, this is mine. So I'm gonna give it, I'll be honest with 01:11:11.256 --> 01:11:14.596 you. I came in, I started watching this movie 01:11:14.661 --> 01:11:17.436 this week and I thought to myself, I know I like this movie. I remember 01:11:17.469 --> 01:11:20.761 liking this movie. I'm sure I'm at least gonna like it, you know, this watch 01:11:20.793 --> 01:11:23.753 through. And I thought to myself, looking back over recent movies we've done, I mean, 01:11:23.769 --> 01:11:27.591 I gave what, like a 4 to Breakdown. I gave a 5 01:11:28.091 --> 01:11:30.889 to The Princess Bride. I gave like a 5 to Do the Right Thing. 01:11:30.938 --> 01:11:33.604 Like these are very high scores. And I thought to myself, I can't keep handing 01:11:33.653 --> 01:11:37.251 5s out like candy. So I watched this movie and 01:11:37.412 --> 01:11:40.224 in my notes I wrote 4.5, but like, 01:11:40.818 --> 01:11:43.581 that's just not, I'm not being true to like what I feel about this. 01:11:44.192 --> 01:11:47.887 The nostalgia I have for it, the tightness of the script, 01:11:48.112 --> 01:11:51.743 the brilliance of the premise. It's got funny, funny, funny lines. 01:11:52.208 --> 01:11:56.064 It's got great action sequences, like the fight, the fist instant kick 01:11:56.564 --> 01:12:00.062 fight between Marty and the ghoul is so good and just so 01:12:00.078 --> 01:12:02.921 well choreographed. Like, there's so many bits and pieces of this movie that just work 01:12:03.033 --> 01:12:06.502 perfectly well. And then the soundtrack is like— it's 01:12:07.002 --> 01:12:10.291 like a top 3 all-time movie soundtrack. Like, yeah, 01:12:10.339 --> 01:12:13.165 potentially. Like, it really— and it— I don't think it gets mentioned when you talk 01:12:13.665 --> 01:12:17.019 about great '90s soundtracks. People talk about Judgment Night and they talk about The Crow 01:12:17.421 --> 01:12:20.873 and they talk about Empire Records. Yeah. But a lot of great movies— a 01:12:20.937 --> 01:12:23.475 lot of Dazed and Confused, right? A lot of movies from the '90s had great 01:12:23.975 --> 01:12:26.909 soundtracks. I don't think enough people talk about Grosse Pointe Blank as a movie soundtrack. 01:12:27.037 --> 01:12:30.424 It is, yeah, impeccable how good this soundtrack is. So, 01:12:30.649 --> 01:12:33.778 you know, fuck it, like, whatever, I'm a grade inflator, call me that. I'm giving 01:12:33.794 --> 01:12:36.491 this 5 out of 5. Again, the, you know, I go back to that, 01:12:36.828 --> 01:12:40.038 that sort of baseline I have, like, could I ask for anything this movie doesn't 01:12:40.538 --> 01:12:43.938 give me? No. It's funny, it's sweet, it's romantic, it's got action, 01:12:44.082 --> 01:12:47.340 it's deadly, you know, and then it's got a fantastic soundtrack. So yeah, 01:12:47.356 --> 01:12:50.211 I'm a 5 out of 5 on Grosse Pointe Blank. I this movie. Awesome. 01:12:50.468 --> 01:12:53.576 All right, well, yeah, dude, I mean, watching this the whole time, 01:12:53.672 --> 01:12:55.771 I kind of had the same thing in my head where I'm like, dude, 01:12:55.835 --> 01:12:58.992 we're giving out a lot of 5s. Are we— are we the substitute 01:12:59.492 --> 01:13:02.886 teacher who's just like telling everyone like, as long as you show up every day, 01:13:02.902 --> 01:13:06.203 you get an A in this class? Like, I don't know, man, but like, 01:13:06.651 --> 01:13:10.449 yeah, there's not a lot in this movie that you would go back and change. 01:13:10.513 --> 01:13:13.958 Like, all the soundtrack choices are perfect. Yeah. Um, 01:13:14.182 --> 01:13:17.789 the Joan Cusack element was so entertaining I would have loved for the end 01:13:17.949 --> 01:13:21.830 credits to just be a montage of like unused little Joan Cusack 01:13:21.959 --> 01:13:25.439 moments, like from those phone calls, like bloopers sort of, whatever, like a gag reel. 01:13:25.888 --> 01:13:29.287 I mean, she is incredibly funny, and I hope got 01:13:29.416 --> 01:13:32.864 cast like on her own merit and wasn't that, you know, John had to muscle 01:13:33.364 --> 01:13:37.097 her into it, because she fucking earned every bit of time 01:13:37.130 --> 01:13:39.936 that she got in this movie. And I know she's an actor in her own 01:13:40.436 --> 01:13:43.725 right. Oh yeah. Um, but, uh, Minnie Driver, 01:13:44.419 --> 01:13:47.455 like, right in her prime. I like the idea that the Minnie 01:13:47.487 --> 01:13:50.587 Driver character in this is the same as the Good Will Hunting one, 01:13:50.636 --> 01:13:53.950 right? Oh, okay. So she, she breaks up with Marty, she moves 01:13:54.450 --> 01:13:57.776 to Boston, and then she gets together with Will Hunting and 01:13:58.276 --> 01:14:01.846 starts telling him about how cool her ex-assassin boyfriend was, and then 01:14:01.895 --> 01:14:03.405 he becomes Jason Bourne. 01:14:05.230 --> 01:14:08.444 So I think there's a through line of the, uh, of the evolution here. 01:14:08.883 --> 01:14:11.739 I, I do think the Minnie Driver character in Good Will Hunting is still in 01:14:11.996 --> 01:14:15.302 college though, right? Isn't that— whatever, 01:14:15.447 --> 01:14:18.673 we don't care. Good stuff, man. Um, a little 01:14:19.173 --> 01:14:22.332 time travel never hurt anybody. Hey, we can time travel, we can have magical answering 01:14:22.364 --> 01:14:26.457 machines. It's cinema. Um, this movie is like— 01:14:26.601 --> 01:14:29.442 yeah, I liked it so much. Uh, my wife and I both enjoyed it. 01:14:29.506 --> 01:14:33.069 My daughter, who's 14, watched the whole thing with us. She was gonna just 01:14:33.101 --> 01:14:36.424 like hang out and Then go study. And then she 01:14:36.488 --> 01:14:39.747 got her study stuff and brought it back. And every time something happened, like, 01:14:39.779 --> 01:14:43.134 I was hearing her laugh. She was fully engaged with this movie. That's a stamp 01:14:43.634 --> 01:14:47.628 of approval right there. Oh man. And this comes like just shy of perfect, 01:14:47.644 --> 01:14:51.208 but I'm still giving this a big score. Uh, I love this movie and it 01:14:51.336 --> 01:14:54.467 needs to be out there more. More people need to have seen this. 01:14:55.012 --> 01:14:58.961 More people need to be bumping this soundtrack, honestly. Uh, Grosse Pointe 01:14:59.461 --> 01:15:03.518 Blank's very solid 4.5 out of 5 for me. I love 9.5 01:15:04.018 --> 01:15:06.498 out of 10 is what the 2 dads have given Grosse Pointe Blank, uh, 01:15:06.659 --> 01:15:09.719 and I think that that certainly works. Like I said, I, I came in with 01:15:10.219 --> 01:15:13.165 a 4.5, but I'm happy with a 5. I'm, I'm, I'm— that's— this movie's too 01:15:13.665 --> 01:15:16.658 good, too much, too much for me to enjoy. Um, so Nic, 01:15:16.898 --> 01:15:19.398 we have a very important announcement to make here. You're going to tell us what 01:15:19.898 --> 01:15:21.578 the next movie that we're going to see is, but before we do, we should 01:15:21.722 --> 01:15:25.103 tell people this is a cool, uh, milestone for us as 01:15:25.603 --> 01:15:27.891 a podcast because this is the first time we get to do something that's the 01:15:28.373 --> 01:15:32.632 annual something. Yeah. This is going to be the 2nd annual Shocktoberfest, 01:15:32.937 --> 01:15:36.151 where we are going to only watch scary movies for the month of October. 01:15:36.890 --> 01:15:40.425 So every episode in October, not necessarily horror movies, but like at 01:15:40.925 --> 01:15:43.317 least kind of scary, horror adjacent, kind of dark. You know, if they're funny, 01:15:43.398 --> 01:15:46.467 they're funny in a dark way, like whatever it might be. And we're calling it 01:15:46.967 --> 01:15:50.163 Shocktoberfest 2: Electric Boogaloo. And that has nothing to 01:15:50.663 --> 01:15:52.685 do with the movies we're gonna pick or anything. I just like the idea of 01:15:52.718 --> 01:15:55.831 the sequel being called Electric Boogaloo. Boogaloo, just like in Breaking. Uh, so yeah, 01:15:55.847 --> 01:15:59.634 so what is the first movie we're watching for this year's Shocktoberfest? 01:16:00.083 --> 01:16:03.323 Okay, so, and we've talked about this in past, 01:16:03.452 --> 01:16:07.398 uh, Shocktoberfests, and like, I'm not like a big horror 01:16:07.898 --> 01:16:11.393 movie guy, right, as far as like traditional horror movies. And I'm trying to think 01:16:11.893 --> 01:16:13.784 of what the pick was last year. I know I picked Silence of the Lambs. 01:16:13.944 --> 01:16:17.104 Yeah, you did. Yeah. And trying to think about Jacob's Ladder. Oh, Jacob's Ladder, 01:16:17.169 --> 01:16:20.683 right? So not like traditional horror movies. And I I kind of like living in 01:16:20.715 --> 01:16:24.087 that zone because you've given us like, you know, Nightmare on Elm Street, 01:16:24.103 --> 01:16:28.310 The Thing, like just fucking great, like classic horror movies 01:16:28.422 --> 01:16:32.003 and stuff. So this one's a little bit outside of the normal genre, but in 01:16:32.035 --> 01:16:35.519 the, in the vein of being like spooky and scary. And I think a 01:16:35.632 --> 01:16:38.538 good way to ease us into the month here. And, uh, 01:16:38.843 --> 01:16:42.520 where we're gonna go is, uh, we're gonna go to the suburbs. 01:16:43.435 --> 01:16:46.984 The 'burbs for sure. And we are gonna watch a 01:16:47.484 --> 01:16:50.227 1989 Joe Dante directed, 01:16:50.580 --> 01:16:53.760 Tom Hanks starring. First appearance of Tom Hanks on 2 Dads 01:16:53.776 --> 01:16:57.292 1 Movie. A crime. Cannot believe it. Yeah, an '80s and '90s 01:16:57.324 --> 01:17:00.616 movie podcast, and we're in episode, what, 81 when we 01:17:01.116 --> 01:17:03.827 get to Hanks? 82 even, I think. Okay, this is 81. Yeah, so, okay. 01:17:03.907 --> 01:17:07.648 Yeah, yeah, so no mention of Hanks until right now, episode 81, 01:17:07.681 --> 01:17:10.812 and then next time we're gonna talk about it. But yeah, we're gonna watch 1989 01:17:11.312 --> 01:17:14.400 '89's The 'Burbs, which I realized after watching it I had never seen. Oh my 01:17:14.900 --> 01:17:18.060 God, that's awesome. So I'm really excited to talk about this one and get into 01:17:18.560 --> 01:17:21.620 Shocktoberfest because I had a blast with it last year and I love our theme 01:17:22.120 --> 01:17:24.600 months. So I'm excited to be getting into this. Yeah, and we're gonna have— we're 01:17:25.100 --> 01:17:27.780 gonna have just like last year, October, November, December, and January are all gonna be 01:17:28.280 --> 01:17:30.940 theme months. We'll announce them as we get to them, but we are back into 01:17:31.440 --> 01:17:34.480 sort of the themed, uh, territory, which is like, you know, I think it's good. 01:17:34.980 --> 01:17:38.210 I think it's more likely we'll get a little more variation on on scores and 01:17:38.710 --> 01:17:41.110 stuff because we're not just picking movies we love. Yes. Which is kind of the 01:17:41.610 --> 01:17:44.150 default mode I think we both get into, which is fine, but you know, 01:17:44.650 --> 01:17:47.570 it's gonna be a little different here. So yeah, we'll start with The 'Burbs. 01:17:48.070 --> 01:17:50.730 For my part, like, I've watched this movie probably a dozen times as a kid. 01:17:51.230 --> 01:17:53.930 I definitely was like big into this movie back in, you know, when I was 01:17:54.430 --> 01:17:57.170 like 10, 11, 12 years old. Don't think I'd seen it. I don't think I've 01:17:57.670 --> 01:18:00.930 seen it in 30 years though, like at least. So it'll be definitely going back 01:18:01.430 --> 01:18:04.740 to it and figuring out if it holds So up. yeah, excellent. Next week, 01:18:05.240 --> 01:18:07.700 The 'Burbs. That's a wrap. So if you like what you hear, please consider heading 01:18:08.200 --> 01:18:10.800 over to Apple or Spotify and leaving us a 5-star review. It helps new folks 01:18:11.300 --> 01:18:14.720 find the show. Be sure to check out our website at twodadsonemovie.com. That's the 01:18:15.220 --> 01:18:17.800 number 2 and the number 1. There you can explore the movies we've covered, 01:18:18.300 --> 01:18:21.270 sign up for our newsletter, The Rewind, and even get sneak previews of upcoming episodes. 01:18:21.660 --> 01:18:25.140 Once again, this has been Grosse Pointe Blank, another episode of 2 01:18:25.640 --> 01:18:28.020 Dads 1 Movie. I'm Steve. And I'm Nic. Thank you so much for listening, 01:18:28.040 --> 01:18:29.200 and we'll catch you next week. Thanks,