WEBVTT 00:00.100 --> 00:03.628 You could call the police. I know your every 00:04.128 --> 00:07.400 thought, Laura. You're wondering if they can protect 00:07.900 --> 00:11.215 you. Who knows? They may 00:11.715 --> 00:14.109 issue an order instructing me to stay away from my own wife. 00:16.920 --> 00:17.998 Nothing can keep me away. 00:20.331 --> 00:22.842 I love you, Laura. Mm-hmm. 00:24.194 --> 00:25.143 I can't live without you. 00:27.837 --> 00:32.673 And I won't let 00:33.173 --> 00:38.090 you live 00:38.590 --> 00:39.122 without me. 00:40.411 --> 00:45.665 Think carefully. 00:49.079 --> 00:52.325 Eskimo, please hurry, please. This is our last chance. 00:54.915 --> 00:58.623 Yes, this is Sarah Waters at 408 Tremont. Take that chance. 00:59.512 --> 01:01.932 Come quickly. I've just killed an intruder. 01:02.803 --> 01:06.191 It's Two Dads, One Movie. 01:06.303 --> 01:09.725 It's the podcast where two middle-aged dads sit around and shoot 01:10.225 --> 01:13.466 the shit about the movies of the '80s and '90s. Here are your hosts, 01:13.580 --> 01:15.620 Steve Paulo and Nick Briana. 01:17.423 --> 01:20.762 Hello everybody, welcome to another episode of Two Dads, 01:20.794 --> 01:24.116 One Movie. I'm Steve. And I'm Nick. And today we are continuing the 01:24.149 --> 01:28.659 Two Dads, Two Decades march through the '90s at this point, uh, with 1991's 01:28.996 --> 01:32.945 Sleeping with the Enemy starring Julia Roberts. And, uh, Nick, this was your 01:33.057 --> 01:35.305 pick, so why don't you start by letting us know kind of your history of 01:35.321 --> 01:38.579 Sleeping with the Enemy and maybe why you chose it for 1991? Yeah, I mean, 01:38.676 --> 01:41.806 doing Two Dads, Two Decades here, I, I know we've already hit 01:41.838 --> 01:44.406 a few of the great movies from 1991, I think, 01:44.455 --> 01:47.806 like Terminator 2, Point Break, like certain things that I definitely would have 01:47.838 --> 01:51.334 picked in this spot. Yeah. And, uh, and one of the reasons I 01:51.430 --> 01:54.348 picked this one is that we haven't seen Julia Roberts. I think this is a 01:54.412 --> 01:57.122 good spot to get her in. Yeah. And this is a bit of like an 01:57.622 --> 02:01.227 off-the-beaten-path pick if you're deciding on 1991 movies to talk about in 02:01.727 --> 02:06.038 a podcast. Fair. Um, it is like a good idea. 02:06.342 --> 02:09.084 It's a good like kind of thriller feel, and I want to see how it 02:09.584 --> 02:11.874 holds up. Is it going to be a Pacific Heights or is it going to 02:12.374 --> 02:14.974 be a Cape beer, right? Um, and I, I hadn't seen it in a while, 02:15.023 --> 02:17.513 and I thought it would be fun to revisit this one and see, like, 02:18.140 --> 02:21.514 all right, under the lens of movie analysis, like, what do we think of this 02:22.014 --> 02:25.178 one? So, uh, yeah, I mean, no particular reason, but, uh, 02:25.532 --> 02:28.135 I think, uh, just, you know, throwing a little curveball in the mix here. 02:28.279 --> 02:31.493 I like it. The Julia Roberts call-out is good. Like, certainly for 02:31.993 --> 02:35.093 the era that we're covering, she's a major, major star of the time, so good 02:35.593 --> 02:38.658 to finally get a Julia Roberts movie under our belts. Um, I will say this 02:39.158 --> 02:42.394 is, I think, the fourth specifically thriller that you've brought 02:42.894 --> 02:45.423 to the table to the podcast that I had not yet seen. Okay. Which is 02:45.439 --> 02:48.549 an interesting, just that that's happened that way. Yeah. But I had, 02:48.741 --> 02:52.653 before you brought them to us here, I had never seen Pacific Heights, The River 02:52.669 --> 02:56.003 Wild, or Cape Fear. And so, and now this. 02:56.356 --> 02:59.562 And so it'll be interesting to see how it lines up because 03:00.062 --> 03:02.720 obviously like Cape Fear and The River Wild were both like spectacular really. Yeah. 03:02.768 --> 03:05.253 You know, I mean, Cape Fear even more so, but both really good movies. 03:05.333 --> 03:07.529 And we all know how I feel about Pacific Heights. Like one of my least 03:08.029 --> 03:11.729 favorite movies I've ever seen. So hopefully Sleeping with the Enemy Enemy lands much closer 03:11.985 --> 03:15.239 to Cape Fear and the River Wild than Pacific Heights. The only thing I knew 03:15.271 --> 03:17.516 about Sleeping with the Enemy going in, we actually mentioned this and I think I 03:18.016 --> 03:20.417 mentioned it last week at the end of the podcast, but when we did Home 03:20.917 --> 03:23.415 Alone, we talked about how insane it was that Home Alone was the number one 03:23.447 --> 03:27.054 movie at the box office for 16 straight weeks, starting in November 03:27.554 --> 03:31.991 of 1990 into February of 1991. And this was the movie that finally toppled 03:32.327 --> 03:35.934 Home Alone. So crazy. The week that Sleeping with the Enemy debuted, 03:36.095 --> 03:39.749 it debuted at number one at the box office and something really dumb. I don't 03:40.249 --> 03:42.410 remember what was number two and then Home Alone was still third. So in its 03:42.427 --> 03:45.729 17th week of release, Home Alone was still the third most popular movie in the 03:46.229 --> 03:49.817 box office. But this one did knock it off the throne. So I think, 03:50.202 --> 03:52.703 you know, we'll learn as we watch a little more of this movie is that, 03:52.847 --> 03:56.038 you know, Laura, Julia Roberts' character might have benefited 03:56.310 --> 04:00.062 from a little of Kevin McCallister's tactics. I think so. You know, there's definitely 04:00.562 --> 04:03.012 an influence. I found an even earlier influence. We'll get to that after the facts. 04:03.124 --> 04:05.898 First, we're going to go to the facts on Sleeping with the Enemy. 04:06.475 --> 04:09.425 All right. The movie Sleeping with the Enemy was released on February 8th, 04:09.457 --> 04:12.809 1991, with an R rating. It runs for 99 04:12.825 --> 04:16.276 minutes, was directed by Joseph Rubin and written by Ronald Bass 04:16.776 --> 04:20.498 from the novel by Nancy Price. It stars Julia Roberts, Patrick Bergen, and Kevin 04:20.594 --> 04:24.767 Anderson. On Rotten Tomatoes, 24% fresh. 04:25.008 --> 04:28.395 Woof. Not a rousing endorsement to start. 04:29.037 --> 04:32.424 On IMDb, a 6.3, which is also not the worst we've 04:32.924 --> 04:34.976 seen. Like, I think Halloween III: Season of the Witch was like in the 5s. 04:35.362 --> 04:38.524 Yeah. But 6.3 is not good. And we get a pair of thumbs down from 04:39.024 --> 04:41.590 Siskel and Ebert. Not the most auspicious start. 04:42.221 --> 04:44.987 This is one of the reasons that especially with movies I haven't seen before, 04:45.456 --> 04:48.917 I prepare these fact sheets after watching the movie because I don't 04:48.933 --> 04:50.911 want to be influenced by what I see here. 04:52.084 --> 04:56.229 It was nominated for 4 awards at the 1992 Saturn Awards, 04:56.824 --> 04:59.574 which is cool. Real awards. Did not win any of them. I like the Saturns. 04:59.622 --> 05:02.845 They're obviously a genre award. They're off the beaten path. But I think of the 05:03.345 --> 05:06.453 genre award sort of category or, you know, that grouping, 05:06.808 --> 05:08.741 I think this and the Fangoria Chainsaw Awards, those are the 2 that I really 05:09.241 --> 05:12.591 take seriously. I think those are both very good. It was nominated for, 05:12.655 --> 05:14.743 did not win any of these, nominated for Best Horror Picture, 05:15.385 --> 05:18.950 nominated for Best Actress for Julia Roberts, and for Best Supporting Actor 05:19.063 --> 05:22.612 for what's his name, Patrick Bergen, who played 05:23.112 --> 05:27.012 Martin, and which is an interesting take. 05:27.333 --> 05:30.287 And then also nominated for Best Music, which is something that we will get into 05:30.303 --> 05:33.531 right off the bat. I see you're tickled by that Bergen nomination there. 05:33.788 --> 05:37.160 Oh boy, he's gotta know somebody on the committee. The bar is not in the 05:37.660 --> 05:41.491 same place at the Saturns that it is at the BAFTAs, the Oscars, 05:41.539 --> 05:44.438 the Golden Globes, the SAG Awards, etc. All right, I'll do a full audit after 05:44.938 --> 05:48.139 this. Fair enough. Um, was it a success though? Holy shit, on a 05:48.639 --> 05:52.625 $19 million budget, this movie pulled in $175 million 05:52.753 --> 05:56.102 at the box office. Uh, more than 9 times what it cost to make. 05:56.214 --> 05:59.802 I think, you know, honestly, I'm sure moviegoing audiences had a 06:00.302 --> 06:04.048 little family, family film fatigue at that point with Home Alone dominating things 06:04.548 --> 06:08.037 for so long. Uh, Julia Roberts, obviously massive draw in 1991. This is 06:08.069 --> 06:11.514 really sort of like the, the peak of maybe the first wave of 06:12.014 --> 06:14.816 her popularity, kind of post-Pretty Woman into this era, right? You know, where she was 06:15.316 --> 06:18.871 really big and then she would really recur again in the early 2000s. But yeah, 06:18.887 --> 06:22.541 like, so huge success at the box office, but critically 06:23.215 --> 06:26.500 not particularly well liked by any of the measures that 06:27.000 --> 06:30.171 we look at here. Yes. And I mean, this is true of a lot of 06:30.671 --> 06:33.937 movies where it's like fun to watch doesn't translate to Gene Siskel 06:34.437 --> 06:37.511 having good notes on it, you know? Well, Gene in particular is a goddamn curmudgeon, 06:37.543 --> 06:40.847 that's for sure. But, Uh, all right, let's kick it off. Nick, this was your 06:40.911 --> 06:44.242 pick, you brought to the table, therefore I must ask you to begin the analysis. 06:44.307 --> 06:48.270 Where does Sleeping with the Enemy start? Okay, so I think we get like 06:48.772 --> 06:51.897 a text-only intro and it is so 06:51.994 --> 06:55.298 boring. I mean, it's not giving you anything right at the 06:55.798 --> 06:59.052 beginning of the film. Um, well, except for the music. The music, 06:59.343 --> 07:02.578 which— I mean, like, did you have any— because like, I have thoughts. Yeah, 07:02.659 --> 07:06.937 let's go, let's go. So I was not thinking 07:07.437 --> 07:11.040 about this in this context initially, but this music to me is incredibly 07:11.104 --> 07:14.535 Home Alone coded. This sound, I thought this was a Christmas movie. Like I 07:15.035 --> 07:17.019 really thought, 'cause I've never seen it. So I thought, oh, when this opens up, 07:17.036 --> 07:20.578 it's gonna be a domestic scene at Christmas time. Right? It's really quite the opposite. 07:20.626 --> 07:23.912 It's like summer in Cape Cod instead. But like, but I thought this sounded super 07:24.025 --> 07:28.000 tinkly piano, you know, ambiance kind of thing. And I thought like, 07:28.016 --> 07:31.318 holy shit, this is like, did they really think, hey, we're gonna knock this 07:31.366 --> 07:34.637 Home Alone movie off the box office there. We gotta redo the theme song. 07:35.137 --> 07:38.712 [Speaker] You must be copying Home Alone. Beat Home Alone. Exactly. Which is just like 07:39.212 --> 07:42.390 wild to me. But the music fucking stood out so crazy at the beginning. 07:42.567 --> 07:46.132 Yeah, it, it's not super fitting and it doesn't make 07:46.632 --> 07:49.474 you feel like, ooh, this is going to be an exciting thriller. Like the beginning 07:49.506 --> 07:53.138 of Cape Fear, I think the music was just like blast your dick off at 07:53.186 --> 07:56.336 the, you know, it was intense from the very beginning, which I think 07:56.836 --> 07:59.183 is an extreme end of this. Yeah. But this is the other end where it's 07:59.231 --> 08:02.126 just like, what is this going to be about? It's also interesting that you bring 08:02.626 --> 08:04.362 that up because I know like we're taking forever to even get into Sleeping with 08:04.862 --> 08:07.137 the Enemy, but like Thinking about that opening of Cape Fear, and we talked about 08:07.637 --> 08:11.111 this when we did it on the podcast, like that was so like Hitchcock kind 08:11.611 --> 08:14.653 of oriented. It was clear that Scorsese was doing that intentionally. Whereas here 08:15.153 --> 08:17.874 it feels like if there was any thought that went into this music, it had 08:17.922 --> 08:21.431 nothing to do with the movie itself because it is not the theme of a 08:21.931 --> 08:24.572 thriller. Like the music doesn't sound like— I like this song. I'm going to put 08:25.072 --> 08:27.152 it in my movie. Something like that. Or again, or, you know, whoever, I don't 08:27.200 --> 08:31.069 know who the composer was, but You know, 08:31.150 --> 08:34.456 he was nominated for Best Music Award at the Saturn Awards, I guess. But, 08:34.779 --> 08:37.860 but it's like, yeah, it really feels like, hey, you know what people really like 08:38.360 --> 08:41.907 in the theaters? That Home Alone sound. Yeah. Let's get that Home Alone sound for 08:42.407 --> 08:45.032 Sleeping with the Enemy. Let's modify it. Let's Elfmanize it a little bit. You know 08:45.532 --> 08:48.334 that movie where America's sweetheart kills a man at the end? Let's put the Home 08:48.834 --> 08:51.668 Alone music on that. Sorry, spoiler alert for the end of Sleeping with the Enemy. 08:51.781 --> 08:54.367 Okay. All right. Sorry. Let's, let's continue the actual opening of the movie. Okay. 08:54.529 --> 08:57.794 So, so now we get the scenery, which is beautiful. Like there's this 08:57.907 --> 09:00.455 house that's kind of by itself on the beach in Cape Cod. I mean, 09:00.490 --> 09:03.590 just, this ultra-exclusive area. Yeah. 09:03.831 --> 09:07.454 And Laura, Julia Roberts, is out in the water digging for quahogs 09:07.954 --> 09:11.190 with the trowel. Looks like a perfect morning. Uh, there's way too many 09:11.222 --> 09:15.343 fucking seagulls around her. She is like crazy, just surrounded by seagulls. 09:15.391 --> 09:18.903 And my wife is like averse to birds, so every time there's like an intense 09:19.403 --> 09:23.055 bird situation— so if we're talking about like, uh, Hitchcock homages, 09:23.328 --> 09:26.679 maybe there's one from this movie. Little Indiana Jones and the Last Crusade with the 09:27.179 --> 09:28.331 umbrella, you know. 09:30.078 --> 09:33.172 So, uh, as she's doing this, all of a sudden she's 09:33.672 --> 09:35.849 approached by a man who's her husband Martin, who, uh, 09:36.250 --> 09:39.408 immediately looks un— not 09:39.504 --> 09:43.111 credible. Like, he's got a mustache, he looks like the typical 09:43.611 --> 09:46.974 rich asshole creep. Yeah, they nailed kind of the look of him. So he like 09:47.474 --> 09:50.404 lurches up on her. The crazy part is 35 years later, that is now the 09:50.904 --> 09:53.867 Gen Z mustache. Like, you would only see that mustache now on men under 30. 09:54.011 --> 09:57.714 Like, that's really the only place. This is— it's so weird how mustache 09:58.214 --> 10:01.129 trends come and go, because like the first guys that started doing it 10 years 10:01.225 --> 10:04.366 ago were doing it because they're like, oh hey, look how fucking random is it 10:04.866 --> 10:07.667 that I have a mustache? And then over time, more and more people do it, 10:07.731 --> 10:10.759 and then it hits a critical mass. Yeah. And now it's just like, yes sir, 10:10.775 --> 10:14.221 I have a mustache, that's my regular face. Oh, it's, it's the lumberjack 10:14.285 --> 10:17.474 beard trend, the exact same thing. And, and even I don't 10:17.506 --> 10:20.598 wear it as long as I used to because it's just, it gets crazy looking. 10:20.695 --> 10:23.034 Like, we don't need to look that wild. But anyway, but you're right, he, 10:23.098 --> 10:26.559 he looks, uh, uh, evil. Like, there's really no— he looks like he's not 10:27.059 --> 10:30.248 giving you a square deal. You know, like, you're not gonna get, uh, 10:31.114 --> 10:34.483 whatever rate he quotes you is not the best he can do, you know. 10:35.285 --> 10:38.766 Um, this man is selling you undercoating, you're saying. So, so, you know, 10:38.830 --> 10:42.327 we get to see she lives this beautiful lifestyle with her rich husband 10:42.343 --> 10:45.487 who's very kind of controlling and, uh, 10:45.632 --> 10:49.642 condescending and everything from the beginning. Yeah, they're getting dressed to go out to 10:49.835 --> 10:53.091 some kind of fancy dinner, and, uh, and he's just 10:53.591 --> 10:56.668 like, oh, that's a pretty dress. Yeah. And he goes, yeah, I wouldn't have thought 10:57.168 --> 11:00.541 of it. Yeah. Just like, just he's digging, constantly digging 11:01.041 --> 11:04.412 at her self-esteem. And like all their interactions are kind of like that. Yeah. 11:04.573 --> 11:07.224 Yeah. And one of the things I noticed, especially out on the beach when we 11:07.724 --> 11:10.260 started and he walks up to her, first of all, anybody who gets, who walks 11:10.341 --> 11:13.682 in a suit along the beach and then is somehow upset he's got sand on 11:13.700 --> 11:17.007 him is a psycho to begin with. Right. These two people have 11:17.136 --> 11:20.394 so much hair. And as a bald man, it is. I'm so 11:20.411 --> 11:23.598 jealous. But they're just a crazy amount of hair that they both have. 11:23.650 --> 11:27.201 And later on, we meet the other kind of third main character in this ton 11:27.233 --> 11:30.157 of hair. Yeah, ridiculous. Yeah, 11:30.382 --> 11:33.676 it's crazy. Um, yeah, so they go 11:34.176 --> 11:37.903 to this party, they come back, and there's just a very like unsexy sex 11:37.935 --> 11:41.230 scene, you know, just a business-like— like, your job is you're my 11:41.390 --> 11:44.172 date, and then you're the person I fuck when we get back from the party. 11:44.431 --> 11:48.274 And he puts burly hose on, which just looks like not sexy. I made a 11:48.549 --> 11:51.375 joke to my wife, it's like they're fucking to Wagner. Like, it's not— this isn't 11:51.904 --> 11:55.351 No, but like, this isn't Mozart. This isn't like pretty. It's not a piano sonata. 11:55.464 --> 11:58.749 Like, right, what is this? Is ridiculous. Very, very like Patrick Bateman. 11:58.927 --> 12:02.063 Oh, very behavior. Yeah. And, and it's important to bring that up because this is 12:02.160 --> 12:05.509 like his theme song that he puts on when they're, when they're humping, 12:05.621 --> 12:08.439 you know. So he's got his own bad guy theme music ready. 12:08.503 --> 12:11.646 Symphony Fantastique, I think, or something like that. Yeah. And then it cuts to him, 12:11.905 --> 12:14.967 uh, on the Versa Climber. Oh my God. You know, just going crazy 12:14.984 --> 12:17.981 on it. So later in the movie, there's going to be a scene where he 12:18.481 --> 12:22.252 has to chase somebody up a mountain that has equally spaced ledges, 12:22.911 --> 12:25.064 and you're gonna think he won't be able to get up there, but this is 12:25.096 --> 12:28.938 showing you that he actually is able to do that. Foreshadowing. And then, 12:29.018 --> 12:32.309 you know, he's— so he's this like total Type A personality, 12:32.341 --> 12:35.551 like, I work out hard and I only sleep 4 hours a night and all 12:36.051 --> 12:38.714 this kind of shit. And he's going around the house and everything has to be 12:39.214 --> 12:42.642 perfect. The towels hanging in the bathroom are slightly uneven, and he goes 12:42.674 --> 12:46.166 and like, you know, so everything has to be under his control 12:46.666 --> 12:48.534 there. Well, and he, when he sees the hand towels, he doesn't just fix them. 12:48.586 --> 12:52.484 He like goes to get her from what she's doing. She's like preparing dinner 12:52.984 --> 12:55.141 or something. I'm not even 100% sure, but wherever she is, she— he goes and 12:55.641 --> 12:57.685 gets her. He doesn't just do it. He goes and he walks in the bathroom, 12:57.717 --> 13:00.939 go, everything here where it should be. And it's like just the most ridiculous, 13:01.036 --> 13:04.106 you know? And then she notices and apologizes and is like freaking out about the 13:04.606 --> 13:07.580 hand towels. And it's just like, holy crap. Like, yeah, I mean, there's— there we— 13:07.725 --> 13:11.296 it's a little over— it's a little beaten over our heads or whatever, 13:11.425 --> 13:14.353 you know, about how controlling it is. But it also like needs to be like— 13:14.385 --> 13:16.899 because they don't want to— like, for the movie to be that long. No, 13:17.077 --> 13:19.880 it's got to be super quick. We got to get to where we're about to 13:20.380 --> 13:21.015 get to very quickly. And the movie is very efficient in this way. 13:23.254 --> 13:26.528 Again, it maybe comes off a little like, like, okay, holy shit, we get 13:27.028 --> 13:29.946 it. He's a controlling asshole. But like, we need that. I think the movie is 13:29.994 --> 13:33.669 very efficiently giving us just how controlling he is, especially when 13:33.685 --> 13:36.782 he then goes down. He sees somebody 13:36.814 --> 13:38.885 working on a boat kind of just down the beach from them a bit, 13:39.302 --> 13:42.030 and he goes down to say hi. And it's like somebody that he hasn't met 13:42.530 --> 13:45.865 before, but it's like a neighbor or somebody maybe renting up the beach a 13:46.365 --> 13:48.545 little ways. He's got a boat and there's a little chit-chat and there's a, 13:48.754 --> 13:51.867 you know, really important piece of exposition that gets dropped here, which is that Martin 13:51.899 --> 13:55.779 tells this person who's got the boat, uh, oh yeah, my wife hates boats 13:56.279 --> 13:58.741 because she, uh, almost drowned when she was a child, and she— so she never 13:59.241 --> 14:01.396 learned to swim. She hates the water, right? And it's a very important little piece 14:01.896 --> 14:05.132 of exposition. And I thought, okay, cool, they've planted a childhood trauma, they've planted 14:05.632 --> 14:08.769 like this skill that she doesn't have supposedly, right? Yeah. 14:08.915 --> 14:12.099 And I do love that the movie kind of subverted what my expectations were about 14:12.599 --> 14:15.176 how they would use that info. But like, right, it was good stuff. Um, 14:15.385 --> 14:18.478 yeah, and I love the little detail here of that guy, 14:18.752 --> 14:21.963 uh, that he's the Mets team doctor. Oh yeah, yeah, that's right. 14:22.272 --> 14:25.815 So I like an alternate universe where like Darryl Strawberry is joining 14:25.863 --> 14:27.723 them for a barbecue or something like that. 14:29.550 --> 14:32.901 So, so one of the things I think that, 14:33.478 --> 14:37.005 that the guy with the boat mentioned that he knew, oh, Laura, oh, I talked 14:37.505 --> 14:40.773 to your wife, or I don't know if even he said something about admiring the 14:41.273 --> 14:43.995 house. Yeah, he says he like admired the house. Not even saying that he went 14:44.495 --> 14:48.131 in there. Right. So Martin comes home and he's fucking furious and he's yelling 14:48.164 --> 14:51.610 at Laura, basically accusing her of, oh, where did you fuck this guy? Yeah, 14:51.691 --> 14:54.418 in the house. Just being an insane person, like, 14:55.927 --> 14:59.473 and, you know, he's just throwing her around and hitting. It's a 14:59.973 --> 15:02.554 real hard, right? Yep. Uh, and he has, uh, 15:03.870 --> 15:07.705 he has pleated pants. Uh, once again, we get some strong 15:07.802 --> 15:10.963 pleats, the early '90s, man. Um, but yeah, 15:11.011 --> 15:14.686 he's just absolutely brutal to her, right? And, um, 15:15.264 --> 15:18.730 and the next morning he just goes to her and he's like, I'm sorry, 15:18.970 --> 15:22.581 we quarreled. Oh my God, that was so crazy. Like, cold. Yeah. 15:22.822 --> 15:25.628 Before that happened too, though, in the morning she was like walking along the beach. 15:25.852 --> 15:28.995 And again, another thing I like, like there's a few of these things get planted 15:29.495 --> 15:32.683 and then when they get paid off, to me they were— it 15:33.183 --> 15:35.633 was not obvious how, why they were getting planted. In fact, I thought they had 15:36.133 --> 15:38.118 a different purpose, right? So this whole thing where she picks up these rocks and 15:38.618 --> 15:41.453 starts like she's throwing them at this lamppost and knocking the light bulbs out. 15:41.918 --> 15:44.067 To me, when I read that initially or watched, I was thinking to myself, 15:44.211 --> 15:47.033 oh, this is her. She has no control over anything. So this is just her 15:47.533 --> 15:50.641 like exerting some control over something like that's very relatable, very understandable. 15:50.946 --> 15:54.105 But of course, it's actually a further plant that she, that she needs to sort 15:54.605 --> 15:57.874 of put in. But yeah, when he says, I'm sorry we quarreled, like, obviously, 15:57.922 --> 16:00.969 first off, it's, it's, it's sort of an I'm sorry, but, right? It's not even 16:01.469 --> 16:04.850 a real I'm sorry to begin with. And then we quarreled is such passive voice. 16:04.995 --> 16:08.763 Oh my God. That's some New York Times level. Yes, exactly. 16:09.084 --> 16:12.436 I'm so sorry I beat you in the face with my hand would have 16:12.936 --> 16:16.269 been far more real. But obviously he's not sorry that he did that. He's sorry 16:16.365 --> 16:19.797 that a quarrel occurred. Yeah. Right. It's, it's crazy. And then his, 16:20.471 --> 16:23.972 his amends that he makes is he gives her a gift, which is 16:24.149 --> 16:27.554 lingerie, which is a put this on so 16:27.618 --> 16:30.975 I can immediately start fucking you in a way that does not benefit you in 16:31.475 --> 16:34.959 any way. Yeah. And that shot, like, where she puts this on 16:35.007 --> 16:37.947 and then there's like the sex scene, I mean, it really just looks like hell 16:38.043 --> 16:41.320 for her. And like, I, I think they do a good job of, of kind 16:41.336 --> 16:44.388 of bringing that across. And we're still real early in the film here. Yeah. 16:44.484 --> 16:47.886 And, you know, Julia Roberts, obviously, you Should go without saying, 16:47.934 --> 16:51.347 fantastic actress doing so much acting with her face without saying things, 16:51.379 --> 16:54.583 the way she's looking, the way that she moves her mouth before she 16:55.083 --> 16:57.692 speaks. There's always these little moments of, is she going to say something else? 16:58.108 --> 17:01.265 And then they're having dinner because that's one of the things that he said about, 17:01.393 --> 17:04.438 about, you know, after the quarrel or whatever, he's like, oh, you're going to use 17:04.938 --> 17:07.001 this to like ruin dinner because she's going to make some like lamb chops or 17:07.501 --> 17:09.533 something, right? Yeah. But she still ends up doing that. And, 17:10.671 --> 17:13.250 and while they're sitting out on the deck to eat, 17:14.756 --> 17:18.603 you know, he— what was it, uh, he said? Oh shoot, because the 17:19.103 --> 17:22.226 line was, he says, uh, like, you know, if I didn't know you better, 17:22.306 --> 17:25.752 I'd think you were trying to start a quarrel to get out 17:26.252 --> 17:28.445 of going on the boat tonight. But I think it was before that she said 17:28.462 --> 17:31.026 something about, well, that would have made you a monster. It was something about like, 17:31.363 --> 17:33.687 like, did you mean to do this? I mean, I wish I'd written it down 17:34.187 --> 17:36.236 now, but it's like, there was, there's a couple really— the first time we see 17:36.252 --> 17:39.618 any kind of pushback from her at all. Yeah. And his response is, it looks 17:40.118 --> 17:42.536 like you're trying to start a fight, right? Kind of thing. But like, that there 17:42.600 --> 17:45.293 is any push at all, and it's so interesting because we learn very quickly, 17:45.309 --> 17:48.279 like, she needed to got on that boat. Yeah. And yet it was like, 17:48.295 --> 17:51.649 this way she— by making him fight for a little— yeah, she wants 17:52.149 --> 17:55.630 to— can't be too easy. Yeah, exactly. It is so like such 17:55.726 --> 17:58.856 a game of chess that she's playing here, and she's like 3 steps ahead of 17:59.356 --> 18:02.772 him minimum at this point. Right, right. And, uh, and he brings 18:02.868 --> 18:06.223 up, uh, something about dinner being late, you know. Oh, right, 18:06.319 --> 18:10.380 right. Oh, the last time dinner was late— like, basically, dinner better not 18:10.428 --> 18:14.168 be late. Yep. You know, that's unacceptable to him. And the last time dinner was 18:14.361 --> 18:17.523 late was because she snuck away to go to her mom's funeral. 18:17.571 --> 18:21.231 That's right. Yeah. So this is the level of psycho this guy is. So his 18:21.327 --> 18:24.473 issue was the dinner. Yeah, yeah, yeah, yeah. So it's ridiculous. 18:24.634 --> 18:27.908 Crazy. Okay, so we 18:27.988 --> 18:31.680 end up out on the boat with the Mets doctor, and it is a beautiful 18:31.696 --> 18:34.505 night for a sail. I don't know why anyone sails at night. You can decide 18:35.005 --> 18:37.218 not to do it. You can just say, hey, you know what, this is the 18:37.298 --> 18:40.156 wrong night for this. This is super, super rough water. 18:40.284 --> 18:43.045 Like, and you've got, you know, she's got a life vest on. But still, 18:43.334 --> 18:46.834 we are told, right? She can't swim. She's not just can't swim. She is terrified 18:47.011 --> 18:50.254 of water. Yeah, right. Of like any body of water. And yet 18:50.754 --> 18:54.267 here we are on one of the roughest, like, ocean journeys that I've 18:54.767 --> 18:57.928 seen since the fucking SS Minnow. Yeah. And, and on a tiny boat, like, 18:57.944 --> 19:00.689 like, what is this? Like maybe a 20-foot boat? It's like real small. Yeah, 19:00.914 --> 19:05.056 it's definitely feeling every wave that's hitting. Absolutely. Exactly. And so she is again, 19:05.249 --> 19:08.219 you know, more acting with her face. I don't think Julia Roberts says anything through 19:08.719 --> 19:12.216 this whole scene. But the jib comes loose and the guy whose boat it 19:12.716 --> 19:14.271 is tells Martin, "Hey, go up, grab that, you know, get the thing in there." 19:14.319 --> 19:19.842 And they're sort of struggling to try to get the line 19:20.163 --> 19:22.828 back into the stuff to make, to kind of get the sail back on. 19:22.989 --> 19:26.264 Yeah. And they're struggling and struggling. The boat's tipping real hard. I mean, Martin at 19:26.764 --> 19:29.459 one point falls into the ocean, but is able to sort of hold on, 19:29.956 --> 19:32.461 you know, to the line at the end of the boat and climb back on 19:32.961 --> 19:34.709 with the guy. And all this is happening and it's really done well. It's, 19:34.773 --> 19:37.935 we're being, we're seeing it from the back of the boat where 19:37.984 --> 19:41.066 the, steering wheel is. I don't know what to call it. Yeah, 19:41.194 --> 19:44.646 whatever. We're back there. That's where Julia Roberts has been. But we're seeing it kind 19:45.146 --> 19:49.092 of from her perspective this whole time until both men turn back 19:49.592 --> 19:52.849 towards where she has been sitting. Right. And see that she is not there. 19:53.154 --> 19:57.023 Right. And start yelling. And Martin is truly panicked and screaming for Laura 19:57.523 --> 20:00.683 and looking around, seeing if there's any place she can see him or see her 20:00.779 --> 20:04.231 in the, in the water, you know. But it's like they've been so 20:04.247 --> 20:07.571 busy with the sail It would be impossible even to tell how 20:07.700 --> 20:10.736 far— yeah, with how long ago. Yeah, you know, it's like obviously she didn't make 20:11.236 --> 20:13.773 a ton of noise, so she just sort of got thrown overboard is their estimation. 20:14.046 --> 20:17.581 Yeah, and Martin— actually, we were talking about what sound clip to use 20:18.081 --> 20:21.967 for the intro. The one that was the hardest to listen to was Martin screaming 20:22.160 --> 20:25.630 Laura like 20 times in a row when she fell off the 20:25.855 --> 20:29.615 boat. That the audience already knows because they're listening. That was not the choice for 20:30.115 --> 20:31.945 the opening audio clip for sure. 20:33.638 --> 20:37.204 Um, so again, you know, we're talking about like the things 20:37.237 --> 20:40.048 that this movie sets up. Like, to this point, you're like, 20:41.077 --> 20:44.311 what's her plan? Yeah, she's gonna throw him off. She doesn't know how 20:44.811 --> 20:46.878 to swim, you know, all this stuff. Like, you don't, you don't know what she's 20:46.895 --> 20:50.447 gonna do. And I think this part was, you know, pretty well done. Absolutely. 20:50.753 --> 20:54.309 And, uh, you know, so they go searching for her, and then they're back 20:54.568 --> 20:57.932 by the house. They only find the life jacket. I think it's hooked onto 20:57.964 --> 21:01.101 a buoy somewhere. I think it was just floating. The Coast Guard fishes it out 21:01.601 --> 21:05.422 of water. Um, and, and, uh, yeah, so, so that's— 21:05.860 --> 21:09.444 yeah, she's gone basically. Like, Martin, there's a, there's a funeral, uh, 21:09.752 --> 21:12.972 and, and, you know, he's standing there and look, I mean, he's obviously a horrible 21:13.005 --> 21:16.255 monster, but he does seem truly kind of broken up by the 21:16.384 --> 21:19.569 loss. Yeah, obviously the loss of the person that he can control, so it's not 21:19.618 --> 21:23.176 like— right, so it's kind of like 3 things. It's like, okay, losing your wife, 21:23.192 --> 21:26.571 losing that person, but also losing my slave or whatever, 21:26.733 --> 21:30.719 and then potentially the release of the person who knows about all my crimes 21:31.219 --> 21:34.003 and all the awful shit that I am and shit that I've done. So if 21:34.503 --> 21:37.498 she is actually gone, like, his initial panic, right, right, 21:37.514 --> 21:40.880 was just like, my secrets are fucking floating away. 21:40.961 --> 21:43.478 But now that he knows, now he's well convinced that she's dead, right? So that 21:43.978 --> 21:47.181 part goes away. Now he's like, who's gonna straighten my towels out for me? 21:48.175 --> 21:51.878 Uh, but instead of finding out what happens to Martin next, we get a flashback. 21:52.263 --> 21:55.629 Yes, just, just, you know, a few days apparently, according to kind 21:56.129 --> 21:58.195 of— I don't know how long it takes to have a funeral when you don't 21:58.695 --> 22:00.840 have to bury a body, you just put up a headstone, you know. Um, 22:00.936 --> 22:03.293 but yeah, sure enough, we see— we go back to that night out on the 22:03.341 --> 22:07.001 water And we see her swimming really 22:07.097 --> 22:11.063 quite well to a buoy, having taken the life jacket off. And that's 22:11.111 --> 22:14.965 when we can see that there's the line of 22:15.125 --> 22:18.915 lights along the shore. Right. And the two that she busted out are right 22:19.415 --> 22:22.544 in front of her house. So she knows where to go. Exactly. Again, really smart 22:22.592 --> 22:25.867 and not what I would have thought, you know, 22:25.916 --> 22:28.790 from like when you're watching the movie, you're thinking like, oh, what's she doing with 22:29.290 --> 22:32.161 that? Yeah, yeah. Would not have thought of that. Like I said, I read it 22:32.661 --> 22:35.581 just as, you know, a victim exerting control over one thing she can control, 22:35.597 --> 22:39.290 which is like, would be a totally reasonable character beat for this character. 22:39.370 --> 22:42.774 But instead it was part of a master plan that we will 22:43.274 --> 22:46.466 soon learn started months ago. Yes. Months and months ago. Yes. But we're going to 22:46.966 --> 22:49.276 get there. I love her voiceover in this moment. She says, that was the night 22:49.776 --> 22:51.829 that I died. And it's just a great— she gives us a little bit of 22:52.329 --> 22:55.216 backstory on what happened that night, but not that we need it. We get most 22:55.716 --> 22:59.229 of it visually. Probably, but still very cool. Yeah. And, uh, so we got 22:59.729 --> 23:02.773 her now, uh, she's, she's on a bus. Yes, wearing a wig, 23:03.030 --> 23:06.457 wearing Uma Thurman's wig from Pulp Fiction, pretty much. Roughly, pretty much. 23:06.714 --> 23:10.039 It's, it's a black bob with bangs. Yeah, 23:10.103 --> 23:13.943 basically. Um, and she's chatting with this woman who hands her an apple. 23:14.120 --> 23:16.673 And I got to be honest, wearing a black wig with a, you know, 23:16.705 --> 23:20.021 that's a bob with bangs and eating an apple, sure, coded Snow White. 23:20.409 --> 23:24.033 Like, I was like, this doesn't— she must have been snubbed for some Snow White 23:24.533 --> 23:25.329 role at some point. She's like, hey, put the shit in the movie, they'll know. 23:25.413 --> 23:28.931 But she She goes in with this woman 23:29.431 --> 23:32.593 about way too much detail. She starts by telling the story about 23:32.642 --> 23:35.982 her friend. She was helping a friend and all this stuff, but the other one 23:36.015 --> 23:39.388 sees right through it. My first thought watching this was like, she's not 23:39.888 --> 23:43.548 safe. She should not be telling this to anyone. There should be no reference to 23:44.048 --> 23:47.788 like reality of any kind that is tied to Laura, whatever her last name 23:47.804 --> 23:50.936 was. Uh, and, and you know, she says her name is Sarah or 23:51.436 --> 23:54.708 whatever, but like, or maybe that's later, but the point is The one thing that 23:55.208 --> 23:58.539 she drops here that, you know, we have reason 23:58.571 --> 24:01.377 to believe is true, we later find out is, is that her mother is not 24:01.877 --> 24:05.544 dead. That she is going, where she is going, she's going because she'll be closer 24:06.044 --> 24:08.959 to her mother, which again seems, you gotta treat this like witness protection. 24:09.312 --> 24:12.261 Like, I feel like if you're gonna do this kind of thing, you gotta disappear 24:12.761 --> 24:16.044 disappear. At least when the bus is still parked in the town you live in 24:16.544 --> 24:20.773 and hasn't fucking left yet. If she's going from Cape Cod, I feel like Sedona's 24:21.273 --> 24:24.668 nice. Go to Santa Fe, New Mexico. Just be like so far away with nothing 24:24.701 --> 24:27.473 you have any connection to. To, at least first. Yeah, right, right, right. 24:27.569 --> 24:31.591 Yeah, you, you got to treat yourself like a satellite signal 24:32.091 --> 24:35.933 you're trying to make sure the cops can't trace. You got to bounce yourself off 24:36.433 --> 24:40.291 a bunch of locations before you finally learn from Whistler and sneakers. Come on. 24:41.781 --> 24:45.210 So, so she ends up in this town in Iowa, 24:45.354 --> 24:48.671 which honestly looks pretty great. It's very like— yeah, 24:49.056 --> 24:53.093 it's beautiful. Totally like this Americana, the tree-lined streets and everything. 24:54.330 --> 24:57.199 She ends up getting this very beautiful, I'm sure it's one of those like, 24:57.279 --> 25:00.245 oh, the plumbing don't work and all that, but it's like— She has to clean 25:00.261 --> 25:03.887 it a lot. Actually, you know, very nice, way too big of a house for 25:04.387 --> 25:07.848 a single person, but you know, that's what she got. And for $700 25:08.170 --> 25:10.924 a month. Beautiful. It's not quite the deal Dalton got, 25:11.229 --> 25:14.726 but it's pretty good. This might be the second best real estate deal we've seen 25:15.016 --> 25:17.450 in our show so far. I mean, it has to be. I mean, other than 25:17.499 --> 25:20.417 buying that house in Pacific Heights for like $175K. 25:20.514 --> 25:22.772 You beat me to it. That and however Martin Bishop got his loft in San 25:23.272 --> 25:27.069 Francisco with sneakers. I don't know what went down there. But yeah, so no, 25:27.134 --> 25:30.829 it's a beautiful little cottage, two-story old cottage kind of thing. It's not huge, 25:30.845 --> 25:34.122 but it is big for her to be alone. And we get kind of a 25:34.622 --> 25:38.396 little montage of her enjoying her place, you know? And she's cleaning it up 25:38.493 --> 25:41.963 and she has her towels hanging and then she goes and intentionally makes 25:42.463 --> 25:46.153 them uneven. Fucks them all up. Yeah. Yeah. So I wanted to real 25:46.653 --> 25:50.185 quick just mention there was a point because I was watching my own, what do 25:50.201 --> 25:52.338 I think is foreshadowing and what do I think isn't? So like I said, 25:52.756 --> 25:54.920 I was surprised by that she could swim and the broken lights thing. I was 25:54.936 --> 25:58.496 like, oh cool. Basically in my mind, I'm not picking all these out 25:58.512 --> 26:02.182 as I go, which is great. I don't want a thriller to telegraph everything, 26:02.230 --> 26:05.302 right? But the second that she tells that woman on the bus that her mother 26:05.802 --> 26:07.484 is alive and she's going there, I'm like, well, that's how he's gonna find her. 26:07.888 --> 26:10.136 He's gonna find her. He's gonna find out her mom's not alive. And sure enough, 26:10.152 --> 26:12.902 that is eventually how it happens, which was kind of disappointing to me then. 26:13.128 --> 26:16.284 Yeah, because it's like, it's, it's planted so clearly that it's like, no, 26:16.543 --> 26:19.055 there could have been some— I mean, I know it's not the first step that 26:19.555 --> 26:22.215 like gets him whatever, but anyway, I was thinking like, in the, in that bus 26:22.715 --> 26:25.386 moment, I was like Oh, that mom, that's gonna be the fucking downfall. That's gonna 26:25.886 --> 26:28.987 be what gets her. But that's right. But yeah, absolutely. So to anyone listening, 26:29.330 --> 26:32.053 break off all contact with your mother. It's the only way to save yourself. 26:32.488 --> 26:35.469 Honest. Like I said, witness protection. If you, if you are actually trying to escape 26:35.969 --> 26:39.422 like a murderous abuser like this, like, go witness protection. You gotta duck out at 26:39.922 --> 26:43.043 least for a little while because her mom also— we're skipping ahead, 26:43.075 --> 26:46.664 but whatever, we've all watched it— uh, is not terminally ill 26:46.777 --> 26:50.028 or anything. So it's like you could have cooled off for a couple months somewhere. 26:50.125 --> 26:53.414 6 months minimum, right? Like, we're not talking about like 5 years. No, 26:53.895 --> 26:57.440 let your husband get a new woman he can control. Exactly. Once he's settled 26:57.940 --> 27:01.192 into her, then you can do your thing. Horrifying. That's the thought that came to 27:01.692 --> 27:04.881 both of us. But, but yes, like that kind of thing. Hopefully he never 27:05.381 --> 27:08.682 does again. But so, so one of the things that, uh, 27:09.515 --> 27:13.044 that Sarah— Laura Sarah is now doing— she's in her house 27:13.140 --> 27:16.411 and she looks out the window and she sees this neighbor guy just like 27:16.828 --> 27:19.811 singing his ass off and dancing around. Guys and Dolls, I think, 27:19.859 --> 27:23.627 right? Singing, uh, West Side Story or something. Yeah. And just 27:24.127 --> 27:27.232 having a gay old time. And this is a big deal to her because to 27:27.732 --> 27:31.847 see a guy who is just letting loose and willing to be vulnerable 27:31.975 --> 27:35.661 and not taking himself so seriously, in addition to all the other horrible 27:36.161 --> 27:40.147 things about her ex or her husband, is he must have been miserable 27:40.647 --> 27:43.608 to be around at all times. There was nothing fun about that guy. Yeah. 27:43.672 --> 27:46.717 Something I think both you and I have in spades, and I think our wives 27:47.217 --> 27:50.804 appreciate, is a sense of whimsy and being able to be silly and 27:51.304 --> 27:55.164 whimsical and sort of, you know, not tied to like this sort of like concept 27:55.196 --> 27:57.345 that things need to be all in their right place all the time. Like, 27:57.361 --> 28:00.086 what happened? Seriously. You know? And I think that if you are not someone who 28:00.586 --> 28:04.127 has been around a lot of whimsical men, it can be, you know, shocking in 28:04.627 --> 28:07.477 a good way, but it can be very, very new, very different. Yeah. And I 28:07.977 --> 28:10.924 think especially, and this is more true even, you know, 3 decades ago than it 28:11.424 --> 28:14.916 is today. Although it still definitely is true. But yeah, so he's dancing around 28:15.416 --> 28:17.466 his backyard and she's enjoying it, you know, but at one point, of course, 28:17.482 --> 28:20.722 he glances up, sees her in the window. Just notices 28:20.770 --> 28:24.878 real quick and she ducks behind. So there's a little like playfulness here, but she 28:25.378 --> 28:28.890 is rightly, you know, suspicious of just men in general and kind of not wanting 28:29.390 --> 28:32.421 to be near anybody. So the next morning she sees, or maybe it's later that 28:32.921 --> 28:36.401 day, whatever, but she sees apples out on the tree, which is technically in 28:36.417 --> 28:39.739 his yard, I believe. But she goes out anyway, a bunch of beautiful Granny 28:40.239 --> 28:43.190 Smith apples and starts picking them. And he comes up and is sort of like, 28:43.350 --> 28:47.202 I mean, he's being playful, but also like he doesn't know her background. 28:47.266 --> 28:50.300 And she, from her perspective, this is scary because he's 28:50.800 --> 28:54.492 like, that's illegal. Like, you're stealing. People don't steal. People go to jail for stealing 28:54.992 --> 28:58.379 around here. Like, all this stuff. And he's trying to be playful, but it is 28:58.588 --> 29:01.961 very much coming off like this chick cannot catch 29:02.461 --> 29:05.301 a break when it comes to men, right? And this was when I had the 29:05.317 --> 29:08.385 thought, this movie is why Women Pick the Bear, 29:08.771 --> 29:11.886 the movie. It just came 3 and a half decades early for that discourse. 29:12.063 --> 29:15.307 Yeah. But like, like, all the dudes in this movie from the beginning are like, 29:15.773 --> 29:18.985 just in her shit, like ridiculously, like, get the fuck back. 29:19.066 --> 29:22.679 You're doing the wrong kind of teasing. Yeah, given her background. This is pulling the 29:23.179 --> 29:26.534 pigtails on the playground bullshit that we all have moved away from, hopefully, 29:26.550 --> 29:29.633 since. But this, we should mention, this is Ben. This is her neighbor Ben, 29:30.067 --> 29:32.765 the guy who was dancing around. He has, 29:34.002 --> 29:36.764 again, you were talking about people having a lot of hair. I mean, ridiculous. 29:36.877 --> 29:40.024 This guy, he has kind of a Kurt Russell, like a little bit of a 29:40.524 --> 29:44.086 muted Kurt Russell. It's not quite as like full, but it's just one of 29:44.102 --> 29:47.344 those very like feathered— yeah, it looks like it takes a 29:47.392 --> 29:50.553 lot to keep it in place. Um, yeah, 29:50.682 --> 29:53.939 I don't know, there's something— uh, Kurt Russell, it would be, it would be more 29:54.373 --> 29:57.743 interesting in the front. This guy's a little too windswept looking, a little too swept 29:57.759 --> 30:02.236 back, but it's— yeah, just a ton of hair. And he is a drama professor, 30:02.252 --> 30:06.120 I guess, basically theater professor at— they just say a local college there in 30:06.620 --> 30:08.286 Cedar Falls. I don't know if there's actually a college in Cedar Falls, Iowa or 30:08.786 --> 30:11.818 not, but But at a college there in town, he teaches drama. 30:12.107 --> 30:15.222 Hence the show tunes. And Laura, by the way, 30:15.655 --> 30:19.284 she said she was stealing apples to make a pie and she had like 30:19.784 --> 30:22.944 35 apples. You don't need that many apples to make 30:22.977 --> 30:26.477 a pie. She could have taken a pie amount of apples and snuck away 30:26.637 --> 30:29.367 unnoticed. I mean, I haven't made a pie in years, but like what, 10 or 30:29.867 --> 30:32.353 12? 60 apples. 60? I was even thinking 10, but like, okay. It depends on 30:32.853 --> 30:35.995 the size. Well, that's a good point. You know. Yes. So, uh, 30:37.149 --> 30:40.914 oh, so, so we get, uh, Martin. Yeah, we get a quick flash to 30:41.414 --> 30:44.632 Martin, right, on the beach. He finds some broken glass and he looks up and 30:45.132 --> 30:48.061 sees that the lamp had been broken, right? So he steps on the broken glass, 30:48.445 --> 30:51.586 little, uh, Annie Lennox. And, uh, oh, we can add 30:52.086 --> 30:55.367 this to walking on broken glass. There we go. Tag on the website. Tag it 30:55.511 --> 30:58.988 up. Um, yeah, so he's like, hmm, 30:59.918 --> 31:03.016 you know, we just get a quick scene of Martin being like, okay, he's not 31:03.064 --> 31:06.702 convinced that she's gone forever, right? Right. Well, it— I don't even know 31:06.734 --> 31:09.632 if he's there yet. He's just like, this is weird. It's just one of those, 31:09.744 --> 31:13.514 like, this is weird. Yeah, like, why would these two be broken? Doesn't usually 31:13.628 --> 31:17.237 break the glasses in front of our house at home. That's right. Um, but then 31:17.253 --> 31:20.616 we get, uh, a phone call. I believe Martin is at the— 31:20.889 --> 31:23.397 at his work. He gets a phone call and he's irritated. He tells the secretary, 31:23.413 --> 31:25.904 shut up, all this stuff, you know, because he treats the women in his life 31:26.404 --> 31:30.051 so well. Um, but she says, you know, uh, Mr. Whatever, She says she knew 31:30.551 --> 31:32.901 your wife. And he's like, all right, fine, like put her through kind of thing. 31:33.352 --> 31:36.202 And basically the woman, you know, he was like, hey, like, so how did you 31:36.702 --> 31:39.742 know my wife? And she's like, oh, I knew her from the YWCA, which the, 31:39.870 --> 31:41.477 you know, like the women's gym or whatever kind of thing. He's like, no, 31:41.557 --> 31:44.545 my wife didn't go to the YWCA. She's like, oh yeah, she did swimming lessons 31:45.045 --> 31:47.116 with us. He's like, no, no, no, she doesn't know how to swim. He's like, 31:47.356 --> 31:49.932 well, yeah, she didn't at first, but she got really good. Like we were all 31:50.432 --> 31:53.513 really proud of her. She got over her fears and he's like starting to calculate, 31:53.545 --> 31:56.237 right? And then she says, And then he— but he's saying, you must have the 31:56.737 --> 31:58.165 wrong woman. You must have the wrong woman. I think it's the wrong number. 31:58.406 --> 32:01.362 And the woman on the phone goes, she did gymnastics, right? And he's like— and 32:01.459 --> 32:04.142 this— there's like a moment of relief. He goes, no, you clearly have that because 32:04.174 --> 32:07.270 my wife never did gymnastics. Definitely this is the wrong person. She goes, yeah, 32:07.335 --> 32:09.998 she said that's how she got all those bruises all over her body. And that's 32:10.498 --> 32:13.451 when it clicks for him. Damn. Oh, fuck, it is her. She was telling people 32:13.951 --> 32:17.213 the gymnastics thing to cover up for my beating her ass. And, and then 32:17.310 --> 32:20.877 she learned to swim. And so this just throws him off completely. 32:21.343 --> 32:24.518 And he drives back out to Cape Cod. Clearly it's off-season now. Like, he's not 32:25.018 --> 32:28.463 living out at that house. Um, but you know, I'd like to walk around in 32:28.963 --> 32:31.911 his normal house because that house is so spectacular. I would love to see what 32:32.411 --> 32:35.149 his other place— it's probably like a downtown Boston penthouse apartment is kind of what 32:35.214 --> 32:38.947 I would expect. But yeah, yeah, um, yeah, so, so he 32:39.447 --> 32:44.055 goes out there and, uh, he finds in the toilet 32:44.524 --> 32:47.898 the wedding ring that she had flushed. Yes, tried to flush, which I— 32:47.979 --> 32:50.512 when she was flushing it, I thought to myself, can you flush? Why would you 32:50.577 --> 32:53.642 do that? Why wouldn't you just keep it with you? I don't understand. Throw it, 32:53.739 --> 32:56.536 take it off in the ocean when you're swimming. That bus ride is gonna stop 32:57.036 --> 32:59.966 somewhere in 'You know, Pennsylvania, 33:00.238 --> 33:03.460 toss it out the window there.' Like, so the 33:03.960 --> 33:06.570 funny thing though is that he like takes the ring out of the toilet, 33:06.970 --> 33:11.234 picks it up, and puts it directly onto his finger. The guy who's as OCD 33:11.734 --> 33:15.561 as he is about cans and fucking towels and everything is not digging the 33:15.626 --> 33:18.927 toilet for a ring and putting it on his finger. He's got gloves, 33:18.943 --> 33:22.261 he's got a, you know, a little grabber thing, right? Do we also— 33:22.518 --> 33:26.332 are we also expected to believe that from the moment that she went 33:26.381 --> 33:29.883 missing until now, he has not used 33:30.383 --> 33:33.019 the bathroom, the master bathroom in that house. Right. That seems strange. Because the house 33:33.519 --> 33:36.348 isn't a crime scene. No. So the house should have been business as usual. 33:36.397 --> 33:38.326 And it's not like he, I mean, I guess maybe the next day he went 33:38.826 --> 33:41.860 back to Boston or something to like, whatever. But like the house looks, I don't 33:41.892 --> 33:44.158 know, maybe like he had people come in, but like it looks like it's been, 33:44.270 --> 33:47.260 you know, furniture's covered and there's like sheets have been taken off the bed. 33:47.308 --> 33:49.862 So like work was done in the place. It's just kind of weird that he 33:49.991 --> 33:53.660 would then find it, you know, ostensibly weeks later. Right? Right. Is what it seems 33:53.692 --> 33:56.246 like. Just a little strange, but— It's a big house though. Lots of bathrooms to 33:56.746 --> 33:58.902 take those Quahog dumps. Um, 34:00.378 --> 34:03.299 shellfish will stop you up, man. Like, uh, 34:03.732 --> 34:06.572 so now, so now, uh, Julia, Laura, 34:06.653 --> 34:10.504 Sarah is at, um, she's at Ben's house and kind of hanging out. 34:10.552 --> 34:13.473 He— she brings the pie, right? So he invited her over. He's like, hey, 34:13.521 --> 34:16.971 no hard feelings about earlier, whatever. Yeah, very nice kind of neighbor 34:17.471 --> 34:21.304 situation. He's not very forward at this point. I mean, he's pretty like— 34:21.785 --> 34:24.738 he is definitely like, hey, I'm letting you know, I think you're a pretty gal, 34:24.754 --> 34:27.000 and if you were ever to like it, I'd definitely be down for it, 34:27.016 --> 34:30.162 but I'm not making any moves right now. Even though that's a move 34:30.210 --> 34:33.500 technically. Right. Well, it was interesting because the initial— okay, 34:33.837 --> 34:36.374 this was my weirdness with him. And this is, I think, a product of watching 34:36.470 --> 34:39.439 a thriller movie knowing you're watching a thriller movie. There are things that you kind 34:39.939 --> 34:42.842 of like if you watch a lot of horror thriller, you look for certain things. 34:42.906 --> 34:46.213 Right. And I do consider myself, you know, sort of a student of the genre, 34:46.261 --> 34:49.728 I guess. When he first arrived, when we first see him and he 34:50.228 --> 34:53.580 is dancing to West Side Story, to You're Always a Jet, whatever. Right. 34:54.046 --> 34:57.417 That is like Mr. Whimsical. This is like such a clear distinction between 34:57.917 --> 35:00.129 him and Martin. Okay, cool. This is not the same guy. This is interesting. 35:00.210 --> 35:03.357 Interesting. But then the next scene we get is him giving her shit about 35:03.857 --> 35:07.147 the apples and kind of being forceful about it. And I immediately thought to myself, 35:07.211 --> 35:11.130 okay, never mind, I don't like this guy. This guy's gonna be additional problems 35:11.226 --> 35:14.085 for her. Like, I thought this was going to be, you know, another sort of 35:14.585 --> 35:16.959 like, oh, she always gets with the bad guy and they do things to her, 35:17.008 --> 35:20.171 you know, kind of thing. And then we get to this, he's burning the roast 35:20.671 --> 35:23.544 and he's being cute about it, and he's like appreciative of the pie. So I 35:23.592 --> 35:26.659 go, okay, so is he a good dude or not? Like, they try to play 35:27.159 --> 35:30.347 this sort of tension ramp up with the wrong character, I feel like. Yeah, 35:30.395 --> 35:34.259 by making Ben seem anything other than sort 35:34.759 --> 35:38.298 of harmless at the beginning, we get like extra tense about him, and it makes 35:38.362 --> 35:41.793 when he— but when we're supposed to feel that he's tense later, that there's tension 35:41.809 --> 35:44.678 revolving around him, it's, it's weakened because we've already seen him go on that roller 35:45.178 --> 35:48.461 coaster a couple times. So just a thought that I had about that. But counterpoint 35:48.961 --> 35:52.485 to that, because I, I totally, I totally see that. If— what if the purpose 35:52.549 --> 35:55.963 of all that is to show that the Julia Roberts character is 35:56.076 --> 35:59.491 never escaping that feeling of that kind of like tension or aggression 35:59.603 --> 36:03.184 from men. So even if Ben— because we're seeing the movie 36:03.200 --> 36:06.427 from her perspective, right? True. So if Ben in real life was 36:06.927 --> 36:09.044 just like, oh yeah, go ahead and take the apples, but she sees it as 36:09.060 --> 36:12.593 him being like, oh, what are you doing there? I mean, I don't— but this 36:13.093 --> 36:16.527 movie is— this movie exists pretty much in a plain reality. This would totally be 36:17.027 --> 36:20.782 like, oh, well, actually, teacher, uh, so anyway, 36:20.798 --> 36:25.180 just, uh, just a thought of just showing that her character And, 36:25.437 --> 36:29.268 and real life for so many women is you're never 36:29.284 --> 36:31.929 away from that fucking feeling wherever you are, whoever you're with. 36:32.346 --> 36:36.033 Well, and then the whole thing around, you know, we can't say like 36:36.210 --> 36:39.800 it's— it is absolutely reasonable as, as, as two men who have never, would never 36:40.300 --> 36:43.375 hurt a woman because we wouldn't hurt other people because we're reasonably good dudes. 36:44.449 --> 36:47.704 Women— I am so a-okay with women being, uh, cautious of, 36:48.217 --> 36:50.765 avoidant of, afraid of all men. Yeah. 36:51.182 --> 36:54.374 Because they have to be of some men and they can't 36:54.874 --> 36:57.533 tell ahead of time which one. Totally. Or which one. So it's like, yeah, 36:57.677 --> 37:01.286 this could be having that guard up around who is ostensibly 37:01.786 --> 37:05.872 appearing to be like a regularly good dude, you know, a regular, a mostly positive 37:06.372 --> 37:10.555 sort of influence or whatever around. Like her reaction to that being so guarded 37:10.587 --> 37:13.907 makes total sense. Yeah. I'm just questioning from like the filmmaking 37:13.955 --> 37:17.403 of it, right? Is that what the audience should be seeing? Right. Because once we 37:17.903 --> 37:20.915 be feeling comfortable, more comfortable there, is it a more interesting beat? 37:21.080 --> 37:24.453 Beat if he is super friendly. Yeah. And she's cautious. 37:24.566 --> 37:28.437 Yeah. Versus giving us a version of him where he's a little— we're 37:28.502 --> 37:31.732 suspecting, right? Exactly. And it's like, is it a more interesting character 37:32.232 --> 37:35.565 beat for her if she's just cautious because she's going to be cautious, not he's 37:35.581 --> 37:38.319 giving her a reason to be? Like, he's pretty aggressive about the fucking apple tree. 37:38.544 --> 37:42.408 Sure, that's true. But I digress. Like, we can, uh, we could definitely move forward 37:42.908 --> 37:46.286 on that. Uh, and also, you know, they're in Iowa, which is landlocked, 37:46.463 --> 37:49.662 so she knows like there's no way out if she has to escape. That's true. 37:49.745 --> 37:53.504 Can't swim away from this guy. Um, so let's 37:54.004 --> 37:57.401 see, she ends up, uh, oh, so her mom is in 37:57.737 --> 38:01.537 a rest home. Yes. And, um, she hasn't been yet 38:02.037 --> 38:04.857 to see her, right? But she's telling Ben about her, like, yeah, yeah. And, 38:04.953 --> 38:07.919 uh, and Martin has showed up there. Yeah, 38:07.999 --> 38:11.527 he's kind of found his way there. He— I think he hires a PI to 38:12.027 --> 38:15.231 track her down, right? Because he calls to talk to the place that 38:15.731 --> 38:19.304 she was at, uh, or goes to visit the place she was at near them, 38:19.320 --> 38:22.573 near Boston, I think. Or, or no, no, it was in Minnesota. He goes to 38:23.073 --> 38:26.740 Minneapolis to the place he knows that her mom had been at and is 38:26.772 --> 38:30.458 talking to somebody about like, hey, you know, what's the deal here? Has she been 38:30.958 --> 38:33.342 by? You know, all this stuff. Basically he wants to know if like, if Laura's 38:33.842 --> 38:36.611 been around. And the woman was like, well, yeah, she came 3 months ago or 38:37.111 --> 38:39.368 whatever and moved her mom. He's like, well, no, her mom died. No, no, 38:39.432 --> 38:42.765 no, she just moved her thing. So now he's like, okay, so he, you know, 38:42.797 --> 38:45.649 when she was gone, she wasn't at a funeral, she was moving her mother. 38:46.267 --> 38:49.397 I know now she learned to swim, and now he's got the break, you know, 38:49.414 --> 38:52.284 the broken lights as a signal. Like, all these different things are all lining up. 38:52.349 --> 38:55.096 So that's when he goes to a PI and is like, "Find this woman, 38:55.598 --> 38:58.791 the mother. Find her for me. When you do," and 38:59.291 --> 39:00.573 the guy's like, "Well, it'll be expens— I can put like 3 guys on it. 39:00.638 --> 39:04.272 It'll be expensive." He's like, "Great. Lots of money. $10,000 to the guy who finds 39:04.772 --> 39:07.172 her on top of everything else, and an extra $10,000 to you when that happens." 39:07.528 --> 39:10.250 So it's like he is putting everything he can to make this the most motivated 39:10.750 --> 39:14.047 manhunt, you know, ever. And sure enough, it works. Well, 39:14.079 --> 39:17.560 basically instantly. Yeah. Effectively instantly 39:17.592 --> 39:20.319 for the story as it works. Yep. Yep. 39:22.100 --> 39:25.356 So he's like in their town now, or he's 39:25.856 --> 39:29.478 on their way. He's, yeah. So basically like we see a 4th of July parade. 39:29.607 --> 39:32.590 Yes. And I think at the same time we get this, we get basically told 39:33.090 --> 39:35.991 that Martin, or we shown that Martin shows up at the funeral home, not funeral 39:36.023 --> 39:38.943 home, that's the wrong word. The retirement home. Yes. 39:39.873 --> 39:43.173 That Laura's mom is at. So we get this sort of like, uh, dual scene 39:43.189 --> 39:46.281 situation where we see Ben and Laura interacting in this, like you 39:46.781 --> 39:50.451 said, like the super wholesome, you know, little small town Cedar Falls, Fourth of July 39:50.500 --> 39:54.337 parade, the perfect Americana. And they're just interacting very friendly and 39:54.837 --> 39:56.458 like kissing on the front porch or whatever. It's like, and it's showing us a 39:56.958 --> 40:00.683 natural progression. Meanwhile, Martin is getting closer. You're right. He's now in Iowa. You know, 40:00.748 --> 40:03.303 again, we don't, I don't think it's in Cedar Falls. Like she didn't move back 40:03.368 --> 40:06.780 to the town. Right. Not exactly in the same town, but close. Like we're getting 40:07.280 --> 40:09.656 very close to her. Within an hour, maybe, right? That kind of thing. And, 40:09.753 --> 40:12.754 and he has found mom, as it were. So yeah, and we get a, 40:13.125 --> 40:16.868 we get a little, um, of Laura and Ben kind of enjoying each 40:16.933 --> 40:20.603 other's company. We get a little, uh, Doubtfire-style montage 40:20.651 --> 40:24.596 of them. Yeah, yeah, yeah. Like goofing around because they're at the theater where 40:25.096 --> 40:27.830 he's the teacher, so they're like trying on the costumes and all this shit with 40:27.846 --> 40:31.321 Brown Eyed Girl playing. Expensive song to get for 40:31.821 --> 40:34.134 the movie. Good, uh, good little ding in the budget, I'm sure. I don't mean, 40:34.215 --> 40:36.155 I don't know, I just, I just know it's Julia Roberts, so you know, 40:36.220 --> 40:39.306 it's entirely possible that Van Morrison gives a discount if you're going to use it 40:39.806 --> 40:42.292 for her. She's literally the brown-eyed girl. But yeah. 40:44.266 --> 40:48.022 And let's see here. Well, so they're dancing backstage and they're clearly 40:48.198 --> 40:51.216 like, I mean, they're basically falling for each other. They go back to her house 40:51.264 --> 40:54.105 and she invites him in and they start making out. But then, 40:54.538 --> 40:56.705 and this was just reminding me immediately of Roadhouse, of, 40:57.684 --> 41:01.616 you know, Patrick Swayze putting Kelly Lynch up against the cobblestone wall. They lay 41:01.857 --> 41:05.790 down on the wooden stairs and are like, yeah, like this is the least comfortable 41:06.290 --> 41:09.380 possible place place to do this. And she starts to push, and, and, you know, 41:10.822 --> 41:14.283 he doesn't respond great to this. Like, she's like, 41:14.347 --> 41:17.471 no, no, no. And he, he doesn't push— obviously Martin would, Martin would 41:17.487 --> 41:20.355 just make her submit— but like, he pushes a little more than he needs to, 41:20.388 --> 41:23.031 than he ought to. You know, no is no, guys, you know, the whole deal. 41:23.480 --> 41:26.396 Um, but she does tell him, no, you need to stop, you need to go. 41:26.925 --> 41:30.194 And he does. Um, this was the point in the movie— 41:30.226 --> 41:32.325 we were talking this before that we started recording— where I thought to myself, 41:32.453 --> 41:35.559 oh my God, I really hope Ben doesn't save her. Like, I hope the ending 41:35.607 --> 41:38.903 of this isn't Martin finds her and Ben saves her. That would be 41:39.403 --> 41:42.197 so terrible for this character. Right. So we'll get to that eventually. But like, 41:42.278 --> 41:45.805 it's, it's, he basically, there's this conversation between the two 41:45.853 --> 41:48.816 of them and he's insightful enough to understand and ask like, 41:49.219 --> 41:52.603 like, what did he do to you? Clearly there's somebody in your, you know, 41:52.667 --> 41:56.071 probably recent past, you know, he can surmise, but certainly in your past that treated 41:56.571 --> 41:58.959 you horrifically. Like, what happened? And, you know, she basically tells him like, yeah, 41:58.975 --> 42:02.416 I had an incredibly abusive husband and I escaped and like, whatever. And that's when, 42:02.610 --> 42:04.083 you know, she makes it clear that's why she hasn't gone to visit her mom. 42:04.132 --> 42:07.335 She rightfully thinks that's potentially 42:07.432 --> 42:10.587 dangerous, a way that he could try to track her down. So he being the 42:11.087 --> 42:13.936 theater guy helps her in disguise. And it's a really good one. 42:14.129 --> 42:18.439 Mustache, the hair, it's a good disguise. I love that 42:18.471 --> 42:21.706 they get to use him for that purposes. Like that there's 42:21.884 --> 42:25.215 definite reasons why he's a theater teacher in this. You know, it comes 42:25.715 --> 42:28.846 into play so often. It's interesting 'cause I think, you know, 42:28.910 --> 42:31.992 when writing this screen— Well, first I guess for the novel, I'm assuming, right? 42:32.040 --> 42:34.847 'Cause this is an adapted screenplay. But like when the novel was being written, 42:34.864 --> 42:36.303 it was probably like, well, I need somebody who I can make it obvious why 42:38.463 --> 42:42.217 why he's whimsical. And I can make it obvious why he'd know 42:42.233 --> 42:44.570 how to help with disguises. And it's kind of like, and then if you don't 42:45.070 --> 42:47.345 want him to be gay, like there's, you can't just be like, well, he's a 42:47.410 --> 42:50.185 Broadway singer. It's like, ah, that's gonna code a certain way. But if he's a 42:50.685 --> 42:54.189 theater professor, we can let that go either direction. Right? 'Cause we need another 42:54.689 --> 42:57.687 one later when Martin gets even closer who is a gay man. You know, 42:57.784 --> 43:01.183 probably pretty on the DL in Iowa in the early '90s. But like. [Speaker] Yeah. 43:01.264 --> 43:04.405 Yeah. I mean that, geez, that must have been tough there. 43:04.598 --> 43:08.106 Exactly. But yeah, but basically she is able to go— she borrows Ben's 43:08.606 --> 43:12.608 car, beautiful convertible Mustang, gorgeous car, borrows that in disguise, 43:12.672 --> 43:16.181 ball cap, sunglasses, mustache, like the whole deal, you know. I think they bound 43:16.681 --> 43:19.177 her like chest and put very boy clothes on her, like did the whole deal. 43:19.785 --> 43:23.406 Um, but of course fucking Martin is like there, like actually he's at 43:23.906 --> 43:26.979 the place walking the halls, terrifying and creepy as hell. 43:27.716 --> 43:31.064 I think, uh, it's the only time I've ever seen 43:31.096 --> 43:34.204 this in a movie, and maybe the only time we ever will, but there's a 43:34.704 --> 43:38.117 little scene of like evil drinking fountain gulping where 43:38.246 --> 43:41.484 it gives like a camera of Martin like leaning down and just 43:41.984 --> 43:45.593 like gulp gulp gulp on the drinking fountain. It is so fucking funny. 43:45.657 --> 43:48.981 I don't understand why, but thank you for putting that in there. It's upsetting. 43:49.142 --> 43:52.304 It was upsetting. I've never been upset by, by fountain usage, 43:52.546 --> 43:55.044 but that is upsetting. From now on, when I see one of those, I'll be 43:55.544 --> 43:57.779 like, ah, I'll drink out of the sink in the bathroom. Thank you very much. 43:57.844 --> 44:00.176 I mean, to be fair, I have definitely not used a public water fountain since 44:00.676 --> 44:06.197 COVID but like, you know. Oh man. Uh, really like 44:06.697 --> 44:10.338 like, yeah, really upsetting. Yeah. Um, so he's— so he's there 44:10.692 --> 44:14.324 and, uh, and Sarah sees him. Yeah. So there's kind 44:14.824 --> 44:18.204 of, you know, he, he wouldn't recognize her. Does she see him? I didn't get 44:18.704 --> 44:20.844 the sense that she did. She never turns around because she's drinking at the water 44:21.344 --> 44:23.774 fountain and just gets up and goes. Okay. I thought she saw him at the 44:24.274 --> 44:26.685 very end. No, I think that she— they don't— neither of them see each other, 44:26.701 --> 44:29.774 and he stands behind her for a good, you know, 15 seconds while she's drinking 44:29.871 --> 44:33.331 from the water fountain. Then too many Mississippians, by the way. If there's 44:33.831 --> 44:36.322 a line, you gotta just dip back and get back in line. You can't go 44:36.822 --> 44:39.564 that long. Save the whales, baby. Uh, so you got— so then she heads out 44:39.612 --> 44:42.998 the door and he stops at the desk to ask 44:43.498 --> 44:46.674 if— if I remember Laura's mom's name, Chloe or something like that— uh, if she's 44:47.174 --> 44:50.349 had any visitors, right? And that whole kind of thing. But she's gone, you know, 44:50.927 --> 44:53.013 Laura has left now. But the woman is like, oh yes sir, you know, 44:53.078 --> 44:55.662 you asked about visitors, you know, she did have, you know, nobody for months and 44:56.162 --> 44:59.208 then today. And he goes, a young woman? She's like, no, young man, he's mustache 44:59.708 --> 45:02.049 and, you know, he like just— what, he just left? Yeah. Martin rushes out and 45:02.230 --> 45:05.403 like nobody's there, right? He doesn't see her. But this is then, I think, 45:05.419 --> 45:09.027 when he goes back into Chloe's room and starts pretending to be 45:09.527 --> 45:11.282 a cop. Chloe's mom is blind, right? We got to make sure we— I don't 45:11.782 --> 45:14.889 think we mentioned that before. Laura's mom, Chloe, is blind. And, and it's, uh, 45:14.905 --> 45:17.466 so she had a stroke, so she's like had some— and she cannot see. 45:17.949 --> 45:22.111 And so she recognizes Laura's voice, right, when they're chatting. But now Martin is disguising 45:22.144 --> 45:25.861 his voice, uh, with a little bit of an accent, you know, with the police, 45:25.878 --> 45:28.852 you know, that whole kind of thing. And, you know, he basically says like, 45:28.868 --> 45:32.551 we, we are worried about her and about her husband coming to get her and 45:33.051 --> 45:35.037 we're trying to keep her safe and like all this kind of stuff, you know? 45:35.277 --> 45:39.014 And so basically he gets out of her that she's been seeing a guy 45:39.608 --> 45:43.280 who is a dramatics professor at a college in Cedar Falls. 45:43.537 --> 45:46.440 Yeah. And he goes to— he's going to fucking kill her. He's got this pillow. 45:46.504 --> 45:49.808 The pillow. The classic. Wielding a pillow ready to smother her. 45:49.952 --> 45:53.160 Luckily, the assistant, the orderly, the nurse, whoever it is, comes in 45:53.660 --> 45:56.704 and talks, you know, briefly to her. And he doesn't kill mom. 45:56.784 --> 46:00.350 Basically, mom lives. But it's, it's still you 46:00.850 --> 46:03.925 know, we, we now know he is super close because it can't be that many 46:04.585 --> 46:07.790 dramatics professors at this one college in this one town, 46:07.967 --> 46:10.798 which is the town she lives in. So he is getting incredibly close at this 46:11.298 --> 46:14.575 point. He's very, very close, and close to the point that he's very confident 46:15.075 --> 46:18.512 that when he identifies the first dramatics professor, that that's definitely the 46:19.012 --> 46:22.046 guy, right? So, and then he, yeah, gets into that guy's car, puts a gun 46:22.546 --> 46:24.644 to his head, is like, you know, and he's real nasty about it. Oh, 46:24.725 --> 46:27.477 that's my wife, she's She's a good fuck, isn't she? And, and the guy's like, 46:27.493 --> 46:28.949 dude, you got the wrong guy, you got the wrong guy. And he's like, 46:29.030 --> 46:32.380 no, I don't, it's you. Like, kind of thing. Oh, he's so sure. It's your 46:32.428 --> 46:35.719 car. Seriously, just get in your car, just take a quick look 46:35.783 --> 46:39.031 in the back. Last week we talked about car safety when it comes to, 46:39.320 --> 46:41.893 uh, not getting in the front. Yeah, not getting in the front seat with a 46:42.393 --> 46:46.016 group, that's important. Check your back seat before you get into your car, also important. 46:46.373 --> 46:49.667 Important car safety tips here on Two Dads One Movie. Yeah. And then, 46:49.780 --> 46:53.474 and it was totally like, uh, okay, well, sorry about the misunderstanding. 46:53.571 --> 46:55.369 Uh, if you tell anybody, I will kill you. Uh, 46:55.450 --> 46:58.667 but guy, he's like, you got it wrong guy. 46:58.779 --> 47:01.090 And he's like, no I don't. He's like, dude, I live with a man. 47:01.186 --> 47:04.411 Like, yeah, I'm definitely not fucking your wife. Like, because it's not 47:04.555 --> 47:08.646 how that works for me. Also, if anyone ever comes up and accuses you 47:08.742 --> 47:11.951 of fucking your wife, that is the thing to say, by the way. It's gonna 47:12.451 --> 47:16.026 buy you enough time to get away. Hopefully. Uh, hopefully. So we have, 47:16.202 --> 47:19.154 we have Laura, and she's home in the tub relaxing. 47:19.315 --> 47:22.379 She got— no, no, we got— no, we got the county fair. He— she and 47:22.879 --> 47:25.369 Ben go to the fair. Oh, Jesus. Yeah, yeah, yeah. So they go to the 47:25.869 --> 47:29.020 fair. So Martin's at the fair. Yeah, Martin follows Ben. So he finds Ben because 47:29.520 --> 47:32.866 he's one of the only other young male dramatic professors, I guess, right? Follows Ben 47:32.963 --> 47:35.792 to the county fair, or actually, I guess even to home. I'm not even sure 47:36.292 --> 47:38.749 exactly, but basically they end up at the fair. And Ben meets up with Laura 47:39.249 --> 47:41.207 there. And so now Martin is sort of like, it's a great scene of him 47:41.641 --> 47:44.572 sort of pacing between different booths and different things and just watching them from enough 47:45.072 --> 47:47.105 of a distance that they don't, you know, first of all. He's so fucking mad. 47:47.363 --> 47:50.766 Oh, he's just fucking fuming. They get on a Ferris wheel together and they're going 47:50.830 --> 47:54.286 up and around. They're making out on the Ferris wheel and he is fucking losing 47:54.786 --> 47:58.141 his shit. He's like Zack Morris watching Slater and Kelly make out together, 47:58.157 --> 48:01.690 dude. He can't handle it so bad. And then, so then they go back home 48:01.834 --> 48:05.448 and, uh, she asks Ben, hey, give me 20 minutes 48:05.948 --> 48:08.355 to get to freshen up, whatever. That's right. And he's like, okay, I'll have it 48:08.855 --> 48:11.262 ready in 20 minutes. And we don't know what he's talking about yet, but she 48:11.762 --> 48:16.385 goes in and she gets into the bathtub. And, uh, this is when the— this 48:16.885 --> 48:19.003 is like probably the best stretch of the movie is from this point on. 48:19.180 --> 48:22.616 Like when she gets to the house at this point 48:23.116 --> 48:23.965 um, for until the end of the movie. It's really tense, it's really good. 48:24.013 --> 48:26.774 There's a good reason for us to be, uh, scared for her. 48:27.866 --> 48:31.045 And like, I think initially she hears— does she see the hand towels first? 48:31.093 --> 48:33.100 Is that the first thing she noticed? I think she's in the tub and she 48:33.164 --> 48:37.194 looks at the rack and sees that the hand towels are perfectly even, which it 48:37.419 --> 48:40.213 doesn't necessarily show that they're uneven before. Well, 48:40.293 --> 48:43.392 because she messed them up. That one's just kind of like, okay, that's not how 48:43.456 --> 48:46.940 I typically put them, or just like a quick reminder of Mark 48:46.950 --> 48:48.770 Martin. I think more than anything, it was— yeah, it was just, it was just 48:49.270 --> 48:52.200 a, a sort of memory. It made a memory flood back to her of him 48:52.347 --> 48:55.868 and just made her, you know, that's like a PTSD thing right now. She's tense 48:56.175 --> 48:59.279 because of that. Yeah. Um, and then, 48:59.554 --> 49:03.061 uh, is, is Ben— Ben comes over to that. Well, he's— so 49:03.110 --> 49:05.824 she's looking around the house. She's suspicious, so she puts on a robe and is 49:06.324 --> 49:08.166 just kind of looking around. She, she's, you know, looking at things and seeing a 49:08.198 --> 49:10.152 few of the things that are off a bit or whatever. But then she opens 49:10.652 --> 49:14.118 a cupboard, a cabinet, and the cupboard over, and all cans and packaged 49:14.618 --> 49:17.345 foods are turned all which way. Yes. And they've not been corrected. That's right. 49:17.409 --> 49:20.861 And then she, like, breathes a sigh of relief. And I think Ben, like, 49:21.166 --> 49:24.394 busts into the door or something. He does something that was like, "Why would 49:24.894 --> 49:27.846 you do that?" He is a little— I will say, like, everything we're saying about 49:28.346 --> 49:31.989 Ben, like, he just had this conversation with this woman 49:32.037 --> 49:35.489 about, "Oh my God, I found out that you had this horrible relationship and 49:35.989 --> 49:39.550 you're so traumatized by what your ex did to you." And now he's like, 49:39.791 --> 49:42.775 well, you said 20 minutes, it's been exactly 20 minutes. Like, no, 49:42.855 --> 49:46.609 no, no, you can't do that kind of shit to her. Like, you— he helped 49:47.109 --> 49:50.203 her disguise herself to visit her own mother. Like, he is well aware of 49:50.235 --> 49:52.995 the level of, if not true danger she's in, 49:53.043 --> 49:56.637 certainly paranoia she has about it, right? But she is convinced 49:57.137 --> 49:59.910 one way or another that this guy will come kill her, right? So Ben is 50:00.006 --> 50:02.894 kind of an idiot at this point. But, you know, his internal plan to get 50:03.394 --> 50:06.360 laid is still business as usual. It's like, no, Ben, I'm sorry, but this all 50:06.860 --> 50:09.780 derailed your whole —exactly. So it turns out that what he was setting up was 50:09.973 --> 50:13.089 a lovely little picnic for the two of them on the lawn. Yeah. Um, 50:13.105 --> 50:16.237 and this is when we start getting a lot of great first-person shots 50:16.737 --> 50:20.574 from like behind the trees. We're seeing Ben and Laura through leaves 50:21.074 --> 50:23.626 and, and past tree trunks, which is always such a great look for any thriller 50:24.126 --> 50:27.160 to have that like the killer is stalking in the woods, totally, or the nearby 50:27.660 --> 50:30.324 bushes kind of thing. So we get a lot of that. After the, uh, 50:30.694 --> 50:34.581 picnic, they say goodnight to each other and she goes back into the house 50:34.709 --> 50:37.890 and just decides to to turn to press play on the tape deck without looking 50:37.987 --> 50:41.055 at what's in it. Yep. Assuming whatever she had in his life, but she presses 50:41.555 --> 50:45.233 it and it's Berlioz. Yes. And it's clearly the same piece. Martin's evil theme 50:45.249 --> 50:47.691 song. Yes. Symphony Fantastique or whatever it is. 50:48.671 --> 50:51.901 And so, oh no, no, the first thing she does, the first thing 50:52.401 --> 50:54.294 she did when she walks in is put down some toast. She just had a 50:54.794 --> 50:57.219 picnic, but she needs some toast. So she puts a couple of pieces of bread 50:57.719 --> 51:01.171 in the toaster and puts on the toaster because now the Berlioz is playing 51:01.219 --> 51:03.838 and that gets her she starts freaking out a little bit about it, looking around, 51:03.934 --> 51:07.307 doing whatever. And then I think we hear the smoke alarm because the toaster has 51:07.403 --> 51:10.536 burned the bread and caused the smoke alarm to start. 51:11.001 --> 51:15.049 And the whole thing is just— that smoke alarm is a 51:15.113 --> 51:18.824 terrible sound. It's like enhanced from what a normal smoke alarm 51:19.324 --> 51:22.293 is in this movie. It's really rough, but it's a great— it's a great tool. 51:22.502 --> 51:26.325 And she's kind of yelling around like, Ben, like, as if Ben 51:26.421 --> 51:30.100 is fucking with her by doing this. She— why would she think Barton is 51:30.264 --> 51:33.823 like they're there, right? She's starting, then she opens the cupboard. Exactly, 51:33.887 --> 51:36.931 the one same one she opened, you know, essentially an hour earlier, right? Yeah, 51:36.979 --> 51:41.456 yeah. And all the cans are straightened out, they're all 51:41.956 --> 51:44.050 faced out. And, and that was a great— that's a great— that was shot well, 51:44.179 --> 51:46.653 that was played well. Like, I really enjoyed that moment when she opens it and 51:46.669 --> 51:49.417 scans, because you knew it was coming, but it was still— it still paid off 51:49.917 --> 51:53.521 well. Um, and then, uh, and then, you know, Martin comes 51:54.103 --> 51:57.674 and, and sort of like attacks her. Yep, right. He's got the gun and 51:58.174 --> 52:00.536 like the whole deal. And he's like, talk— he's talking all this crazy shit, 52:00.568 --> 52:04.227 and there's a knock at the back door, and it's Ben. And he's 52:04.259 --> 52:07.228 kind of like, you know, like, make it go away. Yeah, kind of thing. 52:07.292 --> 52:10.390 So he actually locks the, like, little chain lock so she can't open the door 52:10.438 --> 52:13.664 all the way. Yeah. And then hides behind it, and Ben talks her over a 52:14.164 --> 52:16.536 little bit, whatever. And she's just like, now's not a good time, you can just 52:17.036 --> 52:19.634 go home, you know, the whole deal. He's very meek about it. And this was 52:19.746 --> 52:23.245 my— the thing that I thought was like such a great instinct from Ben 52:23.678 --> 52:26.807 is that the door closes and we know Martin and Laura walking over the door, 52:26.887 --> 52:30.289 and then Ben literally like kicks open the door. Yeah, like, bus it down. 52:30.497 --> 52:34.300 Knows there's something wrong. Yeah, goes in, and it's just— yeah, it's a fantastic 52:34.348 --> 52:38.600 fight then between Martin and Ben for a bit. Um, and, uh, and Ben gets 52:39.100 --> 52:42.435 knocked out. Knocked out. Yeah, like knocked out cold. Uh, which is great. 52:42.531 --> 52:45.388 And there's, there's a gun here that Martin had. Yes, right. 52:45.484 --> 52:49.110 And it's knocked loose, and, uh, Sarah is able to pick it up, 52:49.254 --> 52:52.415 right? You know, and one of the better scenes, uh, that I love 52:52.915 --> 52:56.056 in a movie is like The shaky gun being held at the person you're finally 52:56.088 --> 52:59.359 about to get your revenge on. Well, and she shoots a shot at him, 52:59.375 --> 53:01.861 but it like goes and hits the wall, but it really missed by quite a 53:02.361 --> 53:04.875 bit. But he does know she was willing to pull the trigger. That's right. 53:05.324 --> 53:08.595 So there's an element that raises the stakes for him here. Definitely. Because even if 53:09.095 --> 53:12.428 he doesn't think, maybe he doesn't think she'd kill him, she did just 53:12.928 --> 53:16.260 shoot at him. So there's that. But he's like doing the whole slow step towards, 53:16.773 --> 53:19.643 you know, talking crazy shit. And she's like, don't you fucking move. I'm gonna call 53:20.143 --> 53:22.417 the cops. I'm gonna call the cops. Cops, and he even says— he's kind of 53:22.917 --> 53:26.031 like saying, yeah, do it, maybe they'll give you a restraining order. Yeah, 53:26.289 --> 53:29.257 like, I won't pay attention to it, but go ahead, you know. And he's just 53:29.289 --> 53:32.609 fucking being crazy, like, you're not gonna kill me, you don't have the guts, 53:32.657 --> 53:36.473 kind of, right? And then, uh, and then she, 53:36.699 --> 53:39.484 she gets a hold of the phone, right? So she's got the gun on him. 53:39.597 --> 53:42.357 Yep, got the gun on him, picks up the phone, calls 911, and is talking 53:42.857 --> 53:45.842 to the 911 operator. And she said, like, I need the police quickly, I need 53:46.342 --> 53:49.736 the police And then she delivers the fucking coldest ass line 53:50.497 --> 53:53.311 in any movie like this. I think there is a— there is— it is so 53:53.327 --> 53:56.206 good when she says just calmly to the 911 operator, 53:56.562 --> 54:00.866 please send someone right away. I've just killed an intruder. When that 54:00.996 --> 54:04.119 hit, I fucking like almost yelped. Like I 54:04.167 --> 54:07.321 was so stoked on that. Literally wrote in my notes and ended 54:07.821 --> 54:10.069 up not doing this, but that is worth half a point on the whole score 54:10.569 --> 54:12.639 of the movie. Just that line alone. I ended up going back to my original 54:13.139 --> 54:16.803 score, but that's okay. Like, it was a boss-ass line and 54:17.622 --> 54:20.995 is so great because it cleared the character arc for 54:21.495 --> 54:25.075 her that she is saving herself. Ben is fucking knocked out in the next room, 54:25.509 --> 54:29.027 unconscious, completely unable to help, and in all ways vulnerable. 54:29.268 --> 54:32.416 He is like a WWF referee where there's like, 54:32.480 --> 54:35.805 there's no reviving him no matter what. He is done for the match. 54:35.869 --> 54:39.403 He's down and out for the count. But she— and she shoots Martin a 54:39.903 --> 54:42.075 couple of times. Yep. And he still sort of continues to like to like fall 54:42.575 --> 54:46.038 forward and like whatever. And there's this moment where like he is dying but gets 54:46.538 --> 54:50.064 the gun and her. Yes. And is pointing it at her and 54:50.469 --> 54:53.403 pulls the trigger and it's just, there are no bullets left. Like she used them 54:53.903 --> 54:56.416 all, I guess, on him. But it's like he wanted to take her with him. 54:56.465 --> 55:00.064 Yeah, he gets that one last burst. Doesn't— If you're truly evil, 55:00.788 --> 55:04.411 the devil will possess your body for like that final 5 55:04.911 --> 55:07.888 seconds that allows you to like make a lunge with a knife. Right. Or grab 55:08.388 --> 55:10.027 for a gun or something like that. Or try to grab the person as you 55:10.527 --> 55:11.273 fall off the cliff. Right. Get ahold of their shirt. Exactly. Take them with you. 55:11.322 --> 55:14.652 Taking someone out with you. But no, no luck for 55:15.152 --> 55:18.327 Martin there. So yeah, it was a great, it was a great character moment, 55:18.471 --> 55:21.745 uh, for Laura, obviously, you know, taking complete control 55:22.002 --> 55:25.741 over her trauma. Yeah. Um, and, and it, you know, obviously works out. She goes 55:25.773 --> 55:28.967 and kind of revives Ben, just kind of shakes him awake, and, and, and the 55:28.983 --> 55:32.626 movie ends with the two of them sort of embracing on the floor, and that's 55:33.126 --> 55:35.258 with Martin's dead body nearby. And I think, and I think her ring— she, 55:35.322 --> 55:38.756 he had brought— oh, he brought the ring, right? And, and so then lying 55:38.852 --> 55:41.565 next to his hand is her ring like literally I think it even sparkles. 55:41.999 --> 55:45.339 Yeah, on the floor we get a little Joe Pesci's tooth from Home Alone. 55:45.692 --> 55:49.064 A perfect ending of the movie that replaced Home Alone in the box 55:49.564 --> 55:52.917 office, right? Started with the Home Alone coded music, ends with the twinkle like Joe 55:53.417 --> 55:56.835 Pesci's tooth. Dude, that is— I mean, we had a break-in. Yeah, we get all 55:57.335 --> 56:01.155 kinds of crazy stuff here. Good shit. Yeah, so, uh, so there goes Martin, 56:01.572 --> 56:05.008 and now, uh, Sarah can live out her life in peace. 56:06.539 --> 56:10.334 I guess, I guess, assuming Martin didn't have any kind of associates that he 56:10.834 --> 56:13.969 paid before he was killed that said, uh, take her out if you don't hear 56:14.017 --> 56:16.028 from me. He certainly seems like the kind of guy who would just do that 56:16.528 --> 56:18.910 himself, right? Like, he paid people to find her, and that seems very, 56:19.892 --> 56:22.308 very appropriate for him, but I don't think he'd be the kind of person who's 56:22.808 --> 56:24.594 like, if I don't make it back from this, go find her and kill her. 56:24.643 --> 56:26.963 You know, he doesn't have like henchmen. That's, you know, he would have had to 56:26.979 --> 56:31.267 hire somebody explicitly for that, which just doesn't feel like his ammo. 56:32.299 --> 56:35.549 Um, there we go. Jeez, so that is, uh Sleeping with the Enemy. 56:35.613 --> 56:39.218 Yeah, so, uh, should I— I'll go ahead and take the review here 56:39.718 --> 56:43.783 first. This was my pick, and, uh, man, so this 56:43.800 --> 56:47.725 movie is so funny to me because I think that the 56:48.225 --> 56:51.682 structure of it is good. I think the story is pretty 56:51.730 --> 56:54.245 solid, like the beats of the movie are good, 56:54.742 --> 56:58.571 and it almost feels like they were, they were setting 56:58.603 --> 57:01.679 the movie up and doing the blocking and the lighting, and they just brought in 57:01.791 --> 57:05.299 some guy to play opposite Julia Roberts in both instances. 57:05.652 --> 57:08.797 right? And then just shot the whole fucking movie with that guy. Yeah, 57:08.829 --> 57:12.856 yeah. I feel like both these guys are so bad that it, 57:12.936 --> 57:15.968 that it ruins the movie. I think Julia Roberts does a great job in this 57:16.080 --> 57:20.139 movie. Um, there's not a whole bunch of other side characters 57:20.187 --> 57:23.909 or anything, and the two main dudes, it's like, dude, I want to see your 57:24.006 --> 57:27.391 budget. I want to see what they got paid and what were quotes from other 57:27.891 --> 57:31.097 guys during this time, you know? There's somebody who could play a better creep. 57:31.177 --> 57:34.273 If you want to add budget, get a Michael Douglas or someone like that to 57:34.773 --> 57:37.329 be the evil husband. Like there's more that could have been done. So I feel 57:37.829 --> 57:40.503 like it suffered because those performances were just no good. 57:41.799 --> 57:45.076 Yeah. But overall, I mean, it's enjoyable in the way that I like to enjoy 57:45.189 --> 57:48.933 a shitty movie, and satisfying ending and stuff, 57:48.997 --> 57:52.668 and fun to talk about. So I'm gonna go ahead and kind of— I'm 57:53.168 --> 57:56.848 gonna split the middle, I think, between the, the Rotten Tomatoes 57:56.961 --> 58:00.206 and, and the IMDb. I'm gonna give it a 2.5 out of 58:00.400 --> 58:03.687 5. All right, 2.5, that's nice. Nice. I will say, just on the topic of 58:03.703 --> 58:07.121 sort of like getting people to be at Julia Roberts' level 58:07.217 --> 58:10.507 opposite her in this movie, I think— I am about to conjecture completely. I don't 58:10.587 --> 58:13.684 know any of this, but my conjecture is at this time, 58:13.957 --> 58:17.584 this would have been filmed in 1990, right? Released in '91. Roberts is 58:18.084 --> 58:20.183 a huge star, but like relatively new to the time. I think Pretty Woman was 58:20.296 --> 58:23.489 '87, and that was truly her big breakout, right? So she's relatively new, 58:23.505 --> 58:26.811 but she is like it when it comes to Hollywood leading women at this time. 58:26.859 --> 58:31.063 It's like her and Meryl Streep for the most part, right? At this 58:31.563 --> 58:33.918 time. I don't— hope I'm not insulting any other great women actresses of the time, 58:33.950 --> 58:37.960 but like, that's my take. To get a 58:38.265 --> 58:41.570 lead male character or actor who 58:41.634 --> 58:44.778 would bring the kind of ability that Julia Roberts brings to the 58:45.278 --> 58:49.334 screen in a story where they are necessarily secondary to her would've 58:49.834 --> 58:53.184 been a hard sell. And paying an 58:53.329 --> 58:56.801 actor more than you're paying Julia Roberts in this movie would 58:57.301 --> 58:59.767 have been the wrong thing to do. Sure. So I think there's an element of 58:59.880 --> 59:02.798 Michael Douglas never does this movie because this movie's not about Michael Douglas' character. 59:02.847 --> 59:05.556 Yeah, that's a bad example. No, but I mean, even— But these two guys were 59:06.056 --> 59:09.462 fucking never in anything after that, you know? So it's like, you could 59:09.962 --> 59:12.307 have done one. Kevin Anderson did a few things. The Ben, actor who played Ben 59:12.807 --> 59:15.814 did a couple of things, but like— Kyle MacLachlan, there's a level of a guy, 59:16.252 --> 59:19.005 you know? He certainly would have been far more terrifying as Martin, far better. 59:19.183 --> 59:22.163 John Larroquette as the affable guy. Ernie Hudson. Too old. 59:22.803 --> 59:25.975 Too old. Well, too old now. No, no, too old then. In '91, 59:26.024 --> 59:29.728 Ernie Hudson was like 40. Like, Laura's character's 27. That wouldn't have 59:30.228 --> 59:33.741 worked. But anyway, the point being, I think there was a crazy Hollywood age gap. 59:34.015 --> 59:37.435 But I think, but I think that again though, but it's twisted, right? Because, 59:37.532 --> 59:40.258 or it's flipped on its head because it's the woman in the lead role. 59:40.451 --> 59:42.214 And I think that there were a lot of men, especially at the time, 59:42.634 --> 59:45.073 would have been scared off of that. Their agents would have told them, don't be 59:45.573 --> 59:48.126 in that movie. That's her movie. You see what I'm saying? Like, so I think 59:48.626 --> 59:51.388 it's a, it's an element of standard Hollywood misogyny. Unique to me and sort of 59:51.888 --> 59:55.013 a product of its time where I don't think this problem happens today. I think 59:55.513 --> 59:58.301 if you made this movie today with, you know, I don't know, Florence Pugh or 59:58.801 --> 01:00:01.653 somebody who's like, maybe not Julia Roberts big, but like big enough, right? In today's— 01:00:01.669 --> 01:00:05.117 and you got, you could get Jeremy Allen White, you could get Andrew 01:00:05.617 --> 01:00:08.854 Garfield, you could get Timothée Chalamet on the other side. You could, that could happen 01:00:08.886 --> 01:00:11.693 today. I just feel like in 1990, '91, that was never gonna happen for her. 01:00:11.998 --> 01:00:15.125 There's also like a, in the era that we cover, 01:00:15.141 --> 01:00:18.397 such a separation between kind of TV actors and film actors. 01:00:19.183 --> 01:00:21.667 Yes, huge. Like, all right, we have so many to choose from because you got 01:00:21.779 --> 01:00:25.994 these guys on these TV shows that could be interchangeable in movies. So yeah, 01:00:26.106 --> 01:00:29.631 the pools were like totally different during that time until The 01:00:30.131 --> 01:00:33.637 Sopranos. The Sopranos literally broke open that whole— what, because that was the start of 01:00:34.137 --> 01:00:38.300 prestige TV, and now movie actors were willing to go do TV, right? Not ABC, 01:00:38.364 --> 01:00:41.265 NBC, CBS, but they'd go do Showtime or HBO, whatever. Nowadays it's, 01:00:41.361 --> 01:00:44.485 it's just wide open, right? Everybody's an actor's an actor at this point. There's no 01:00:44.985 --> 01:00:47.500 such thing as movie actors and TV anymore. It doesn't exist. But you're right, 01:00:47.516 --> 01:00:50.740 in the '90s and '80s, that was a hard line in the sand. Yeah. 01:00:51.125 --> 01:00:53.644 So all that having been said, let me get to how I actually feel about 01:00:53.692 --> 01:00:56.740 Sleeping with the Enemy. Um, I want to thank you for bringing this. 01:00:56.884 --> 01:01:00.301 I really enjoyed it. It is absolutely a category of genre film that I enjoy. 01:01:00.815 --> 01:01:03.959 Um, I would put this right kind of below The River Wild, 01:01:04.023 --> 01:01:07.039 but not a ton of steps back. Significantly better than Pacific Heights, 01:01:07.488 --> 01:01:10.761 like by leaps and bounds in my opinion. Um, when I was talking about that 01:01:11.261 --> 01:01:13.824 line at the end selling me on a half-point bump that was gonna be from 01:01:14.324 --> 01:01:17.719 3.5 to 4. But I am actually a 3.5, a nice solid 3.5 on Sleeping 01:01:18.219 --> 01:01:20.669 with the Enemy. I thought that the tension in the third act was fantastic. 01:01:20.958 --> 01:01:25.110 I thought that the storyline, the screenplay, like the dialogue, 01:01:25.270 --> 01:01:28.893 and Julia Roberts' performance all worked past the 01:01:29.393 --> 01:01:33.270 shortcomings of her co-stars. You know, I think that she and 01:01:33.462 --> 01:01:36.877 just the general storyline made up for kind of underwhelming 01:01:36.909 --> 01:01:40.147 performances, especially by Martin, who comes off as snidely Whiplash cartoonish. 01:01:40.276 --> 01:01:43.097 Yes. And needed to be a little more believable just as a human being. 01:01:44.230 --> 01:01:47.120 Unless we wanted to believe he has some supernatural reason he's such a piece of 01:01:47.136 --> 01:01:50.479 shit. If he's supposed to be literally the devil or something, then show us that 01:01:50.979 --> 01:01:53.899 and make it crazy. But he's too cartoonish, in my opinion, beyond that. 01:01:53.947 --> 01:01:57.490 So, so that's my rating. I'm a 3.5 out of 5. You're a 2.5. 01:01:57.539 --> 01:02:00.905 So we are 6 out of 10. All right. Sleeping with the Enemy, which is 01:02:00.937 --> 01:02:04.154 like right around the IMDb score, give or take, significantly better than what 01:02:04.654 --> 01:02:07.729 Rotten Tomatoes thought. But that's okay. That's how, that's how that stuff goes down. 01:02:07.843 --> 01:02:11.286 Cool. Cool. We're with the audiences, we're with the masses, 01:02:11.399 --> 01:02:14.830 kind of. This is one of those movies that is not 01:02:14.879 --> 01:02:17.954 critically good and it's an absolute blast to kind of sit through. Like, 01:02:18.018 --> 01:02:20.505 it does all the things that you want a movie to do for you as 01:02:20.553 --> 01:02:23.215 you're experiencing it. And it's no surprise that it made a shit ton of money 01:02:23.715 --> 01:02:27.216 at the box office. Yes, like, absolutely. This is a people-pleasing kind of movie to 01:02:27.716 --> 01:02:30.334 go see with, again, the woman who was absolutely America's sweetheart at the time. 01:02:30.448 --> 01:02:33.731 You know, 100%, Julia Roberts was going to sell out theaters in 1991 01:02:33.780 --> 01:02:35.737 no matter what she was doing. Yeah, but it just so happened that it was 01:02:36.382 --> 01:02:39.347 a great story for her. You know, her character has a great arc and a 01:02:39.847 --> 01:02:42.792 great story and a great resolution in this movie. So there's that. All right. 01:02:43.593 --> 01:02:48.000 All right. Next week, what, what, uh, we're on '90, going to 1992. 01:02:48.096 --> 01:02:51.221 Steve, this is your pick. What do we have as we go through the decades? 01:02:51.285 --> 01:02:54.314 We are gonna, we are going to take a nice little tonal shift here and 01:02:54.330 --> 01:02:56.878 take a, take a breath because I think if we look back over the last 01:02:57.378 --> 01:03:00.419 like 4 movies, give or take, I mean, we had, uh, uh, 01:03:00.900 --> 01:03:04.767 Beetlejuice in there. But the last, like, really straight comedy we've seen was 01:03:05.267 --> 01:03:07.603 like Ferris Bueller's Day Off. Yeah. So it's been, you know, a month and a 01:03:08.103 --> 01:03:09.779 half since we had one. So we're going to go comedy. We're going comedy in 01:03:10.279 --> 01:03:12.964 '92. I need a little breather. I need a little, like, you know, break from 01:03:13.029 --> 01:03:15.437 all this tension and buildup and everything. 01:03:16.197 --> 01:03:19.075 It was kind of nice that Sleeping with the Enemy ran just over an hour 01:03:19.107 --> 01:03:22.220 and a half after Goodfellas was so long. This is another one kind of on 01:03:22.236 --> 01:03:24.827 the shorter side. But yeah, we're going to go to '92 and we're going to 01:03:25.327 --> 01:03:28.552 go watch one of the movies that really tried to kick off, 01:03:29.581 --> 01:03:32.794 you know, the sort of genre, the subgenre within comedies of, 01:03:33.180 --> 01:03:36.730 of let's take an SNL sketch and make it into a movie. Okay. And this 01:03:37.230 --> 01:03:39.731 worked a couple of times and then didn't work a lot. Yeah. Right when it 01:03:40.231 --> 01:03:43.185 happened. But we're going to go to kind of the first major success in that 01:03:43.685 --> 01:03:45.897 category and we're going to go see Mike Myers and Dana Carvey. We're going to 01:03:45.913 --> 01:03:49.227 watch Wayne's World. Yes. And I have not seen Wayne's World in maybe 5 or 01:03:49.727 --> 01:03:52.315 10 years. I used to watch it a ton. I've probably seen it a dozen 01:03:52.815 --> 01:03:56.131 or more times. But I'm absolutely excited to watch Wayne's World next week. 01:03:56.374 --> 01:03:59.719 I can't wait. This is, ah, classic. Can't wait. 01:04:00.125 --> 01:04:03.138 Good stuff. That's a wrap. So if you like what you hear, please consider heading 01:04:03.170 --> 01:04:06.380 over to Apple or Spotify and leaving us a 5-star review. It helps new folks 01:04:06.880 --> 01:04:10.578 find the show. Be sure to check out our website at twodads1movie.com. That's the 01:04:10.626 --> 01:04:13.236 number 2 and the number 1. There you can explore the movies we've covered, 01:04:13.285 --> 01:04:16.997 sign up for our newsletter, The Rewind, and even get sneak previews of upcoming episodes. 01:04:17.354 --> 01:04:19.989 We'd also love it if you followed us on Instagram Instagram, TikTok, and Bluesky at 01:04:20.086 --> 01:04:23.052 Two Dads One Movie. Once again, this has been Sleeping with the Enemy, 01:04:23.246 --> 01:04:26.486 another episode of Two Dads One Movie. I'm Steve. And I'm Nick. Thank you so 01:04:26.534 --> 01:04:28.614 much for listening, and we'll catch you next week. Thanks everyone.