WEBVTT

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You know, this doesn't change a thing. Oh, they may think it does.

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They may think they're off the hook, but they're not. No, no, they're not.

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Are they, Ray? Now go ahead, tell them. Tell them we got the goods on

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them, don't we? Oh yeah, you know, you know, someday they're gonna dig up the

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back of that yard and they're gonna find the rest of that skeleton to go

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with that femur. Oh, it might not be Walter, but it's gonna be some sort

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of torture victim. Shut up, Art! Shut up! God, you don't know when to quit,

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do you? Look at me!

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I'm a shell of a man because of you, Art. You leave

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them alone! Soldiers! You leave them alone!

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Get off their case already! They didn't do anything to us!

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They didn't do anything to us! All right, so they're different,

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so they came from the South! Can you blame them? They live

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next door to people who break into their house and burn it down while they're

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gone for the day! Remember what

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you were saying about people in the 'Burbs are people like Skip?

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People who mow their lawn for the 800th time

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and then snap? Well, that's us! It's not them!

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That's us! We're the ones who are vaulting over the fences and

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peeking in through people's windows! We're the ones who are throwing

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garbage in the street and lighting fires! We're the ones who

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are acting suspicious and paranoid! Nic! We're the lunatics!

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Us! It's not them!

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It's us.

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It's 2 Dads 1 Movie Shocktoberfest,

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a celebration of the spookiest movies of the '80s and '90s.

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Now here are your hosts, Scary Steve Paulo and Nightmare

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Nic Briana. Hello everybody,

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welcome to another episode of 2 Dads, 1 Movie. I'm Steve. And I'm Nic.

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And today we are talking about the 1989 comedy,

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not horror, scary comedy? Thriller comedy?

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Spooky, yeah, I don't know. This is so funny, The 'Burbs. We're talking about The

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'Burbs. Wanna make sure we put that out there. Tom Hanks, The 'Burbs. But I

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wanna say, this is funny 'cause this reminds me of this conversation I had with

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my daughter who's 8 about the levels of scariness as we approach Halloween, right?

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It's October, it's Shocktoberfest. Welcome to Shocktoberfest 2, Electric Boogaloo, everybody.

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But she and I agree that there are levels of kind of scariness. And the

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lowest one we actually call spoopy. It's not even spooky. It's spoopy.

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Spoopy. It's like something that's scary themed, like a skeleton. A half-hearted cartoon.

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Something like that. Or there's like a Halloween cartoon about a square pumpkin that can't

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roll down the hill or some shit. Like, I don't know, that's spoopy. Then there's

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spooky, which is sort of like Disneyland Halloween,

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right? Sort of a haunted mansion. Like, it's spooky, but it's not scary.

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Then you get to scary, and then you get to horror. Like, that's sort of

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like the scale we do. So this is much more spoopy than anything else.

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It gets to spooky. Yeah, it's pretty low end as the scariness

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goes, but it is definitely within theme, I believe, for our Shocktoberfest

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month. Yeah, for sure, for sure. And yeah, this was my— this

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was my pick. And, you know, I realized I had not seen this

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movie. We actually had a request from a listener about— God, it was a

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year ago, I think. Yeah, we get some Joe Dante in the mix. And I'm

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gonna tell you, this is how far ahead we plan our

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fucking movies sometimes. Like, right now we have stuff listed on our schedule that goes

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into, like, well into 2027. Like, well into at this point. Just so people know.

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So, uh, but I'm glad to have gotten this one in because, A,

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you know, again, we have not seen Tom Hanks. This is our first appearance of

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Tom Hanks, uh, on our '80s and '90s movie podcast. That's okay.

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There's lots of greats that we've covered. We've had Kareem Abdul-Jabbar 4 times.

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So, uh— I think this is the 4th appearance of Rick Dukakis, by the way.

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Um, so I thought this would be fun. Fun just as like

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an off-the-beaten-path horror, like a good way to ease us into the month because I

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know we have some real scary shit we're gonna get into. And, uh,

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and just to see like how do these kind of light-touch,

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uh, scary movies hold up. Yeah, you know, they can't show

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a lot of gore. Are they still able to keep it interesting? Like, is it

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strictly— is it made for kids or is it just kind of like a watered-down

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adult movie? You know, so I thought, hey, fuck, let's try this.

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And also, uh, Carrie Fisher, welcome to the podcast. Oh yeah, I haven't seen her

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yet. Absolutely. And So much fun. Carrie Fisher in her— I

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really, really like Carrie Fisher in a lot of her non-Star Wars

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roles from, from the '80s, uh, when she's hilarious. And When Harry Met

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Sally, which is absolutely a movie we'll do at some point, another Rob Reiner flick,

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uh, and, you know, post, uh, the Blues Brothers. She's great in that.

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So much stuff that she did that's great. And she's fun in this. She really

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is a lot of fun. And she looks great and, and she's funny. And so

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we'll definitely get into all the Carrie Fisher, all the Princess Leia action in

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this one. But, and you've seen this one before? I have. I've seen this movie.

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I think I've probably watched this movie like a dozen times between being like 10

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and maybe 13. I haven't seen it in over 3 decades, that's for sure,

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until I watched it this last week. But this was

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like a big one for me. This was like a really common— we might've had

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this on LaserDisc. This might've been one of those movies. Oh yeah. Not positive,

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but it might've been. I definitely watched this a lot. My brother and I probably

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watched this a lot. If you find it, burn me a copy. I'll have to

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figure out how that works. But yeah, I'll figure it out. I don't think I

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ever had an LDR drive or whatever, if they even made those. That would've been

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fun though. True ballers. They're so big. Yeah, that would be nice. I think my

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dad still has all the old LaserDiscs somewhere at his house. I might have to

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go hunt for 'em. Let's jump into the facts on The 'Burbs. The movie

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The 'Burbs was released on February 17th, 1989, sort of a Valentine's

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Day area. Yeah. This time of year, not Halloween or anything, with a running time

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of 102 minutes. It was directed by Joe Dante, as you mentioned,

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and written by Dana Olson. The film stars Tom Hanks, Bruce Dern, and Carrie

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Fisher. For the scores, it received 57% on Rotten Tomatoes,

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just under that fresh threshold, and a 6.8 on

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IMDb. So in both cases, like not bad scores, but underneath that

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level where you kind of want a decent movie to be. Uh, and then we

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get 2 thumbs down from Siskel and Ebert, and I'll just say it, like,

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this isn't their movie. This is not a movie for, for critics. No, no,

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no critic is really going to get into this, so it's not surprising. It's not

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about Chicago. Right, exactly. Um, on a

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budget of $18 million, which, I mean, in 1989, that is a fair amount

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of money, uh, it earned $49.1 million at the box office,

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2.7 times what it cost. Which is a mild success, we'll call

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it. Yeah, definitely a success. Not a huge blockbuster or anything, but certainly wasn't a

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flop at the box office. So oh, and no awards. Yeah, that's a good

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point. Sorry, I skipped right over because I literally wrote the word none. But no

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awards. There was something. There was a weird thing that I saw that was like,

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and I don't remember which organization was one of the critics' organizations did like a

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young best young newcomer type thing, and it's for the kid who plays

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Tom and Carrie's kid in this. Okay, so it's that kid's dad

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who nominates for that award. I guess because he's in like two minutes. Yeah,

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he's no good. Anyway, I'm not that he's. bad. He just doesn't do anything good.

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And yet he got nominated— not win, not win, did not win— but got nominated

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for some Best Young Actor, Best New Arrival sort of awards. Let's screw

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that. No awards activity to mention, in other words. All right, well,

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uh, okay, well, let's kick it off here. So, uh, with The 'Burbs, we're starting,

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we're starting with like a zoomed out view of Earth from space, and we

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keep zooming and zooming and zooming into the neighborhood, and we get to the street,

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right? The suburban street. Do you feel like you could tell where they were aiming

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at? Is that kind of Iowa? Is that kind of where they're at? It's,

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it's near the Great Lakes or somewhere in the Midwest is kind of all I

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can tell. Somewhere intentionally nondescript. Yeah,

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yeah, right. Center of the country, like somewhere on meanwhile on Earth. Yeah,

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right. And and it's a dark night

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here, and we've got our character. We've got Tom Hanks.

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Ray is yes is his name. Ray Peterson and Ray Peterson,

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and he's kind of like looking out the window, looking at what's

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happening in his neighborhood. He walks out of his house, and the house next door

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has this kind of like. creepy light coming out from under this house. It's like

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mechanical noise and everything. And as he kind

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of walks closer, because you can tell, like, dude, he's been wondering about this for

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a while. Yeah, he walks closer to investigate, and as he like steps on the

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lawn, this wind picks up and it's all of a sudden like really creepy.

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And, uh, you know, and then he steps back and the wind stops.

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Yeah, we get in this like, what? In the first moments of this movie,

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we get the sense that there's going to be a lot of this sort of

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like magical sort of element to things. Right. And then it basically disappears and

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we never get it ever again. But that's okay. They're setting us up for one

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thing and giving us something else that happens. But, you know, it's basically like this.

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And he looks up and can see one of his other neighbors from across the

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street looking at him doing that. And so we're starting to get this idea that

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like a lot of these neighbors are wary of this house.

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Yes. With like, it's the only house with like no lawn. You know, these are

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all like beautiful little suburban homes with lawns, green lawns out front or whatever.

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But this one house, this neighbor of Ray's, It's all dirt and

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gross, and it's like, you know, and the place looks like it's falling apart and

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all this stuff. It really stands out like a sore thumb on the street.

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Right, every other house, it's like Pleasantville. And then this is the house

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that George buys in It's a Wonderful Life, that old broken-down

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house, right? I also get the feeling, I don't know if you ever watched this

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TV series Desperate Housewives on ABC from the early 2000s. I think

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this street, this backlot they filmed on is Wisteria Lane, I think. I think it's

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the same. That seems perfectly correct. 'Cause the way the road turns, it would've been

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years earlier so the houses could be different, but it really looks like That's kind

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of the same street that it was filmed on. Yeah.

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And you know, now we're now we're in the morning. Yeah. Okay. And we get

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the paperboy coming. It's a good way to introduce us to the different people in

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the neighborhood throwing the paper. We get an old man with a toupee and

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a poodle. Yeah. You know, I know we have the Dobermans,

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the official attack dog, the official attack dog of the '80s. Correct.

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I feel like the poodle is like the official comedy dog of the '80s.

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Like you have a poodle. for a reason. It's never just somebody's dog.

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Yeah, like the dog that Tom Hanks has in this is just a dog to

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have a dog, right? But the poodle is the official comedy dog of the '80s.

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That's fair. And then the chihuahua is the official comedy dog of the '90s.

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I like that. So, uh, little— when we get— when we get to Legally Blonde,

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right? Yeah, exactly. So we got the poodle in here, and one of

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the better poodle actors we've seen. I know we had, uh, Silence of the Lambs.

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I think this is the same dog. Oh, is this— I think Queenie— Queenie is

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the same dog as Precious in Silence and also was in Big, uh, Pee-wee's Big

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Adventure. Okay, uh, 3 Queenies, 1 Tom Hanks here

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on episode 82 so far. Um,

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so we see that Corey Feldman character, he's like, his parents are out

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of town, he's supposed to paint the house or whatever he's doing. He's just kind

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of fucking around listening to music on the porch. Yeah, um,

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it's just flopping paint everywhere. Like, it's really bad, really disrespectful

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to your stereo equipment and everything. Great hair though. Maybe the best Feldman's

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hair ever looked. It's big and

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full and very '80s kind of rocker hair, like, uh, uh, and then there's this

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like, uh, very like military, you know, retired military but

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obviously still living that lifestyle guy played by, uh,

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Bruce Dern. Bruce Dern. And he's raising his flag and everything.

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And Rumsfeld is his name, right? Uh, so, and he's pissed

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because that poodle had pooped on his yard and he's going over to like yell.

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So we get some good action of the, uh, of the hood here. Yeah,

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we're establishing these people, this block. Uh, we've met all but one

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of the main neighbors to this point. Um, and I will say, like, this is

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something that, that I never thought that I would be drawing corollaries between this movie

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and Do the Right Thing, but like the way that this movie exists

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just on this block for like the entire movie— I don't think we ever get

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a single scene that is off of this block of houses throughout this movie— is

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very much like the corner of Bed-Stuy in Do the Right Thing.

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Friday. Yeah, Friday. Stayed on the block. Same, same idea. And it's very— and,

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and that's very Uh, sort of like Socratic, very, very, very like

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maybe Aristotelian, like, but it's very like Greek to have this, like, you know,

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have the, the, the entirety of the play occur in just one place. Yeah,

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very, yeah, classic. Um, yeah. Um, so,

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uh, Ray's wife, is it Carol? Uh, yeah, Carrie Fisher.

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We'll call her that. Uh, Carrie Fisher, whatever. Carrie Fisher.

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So, so he's— he has some, uh, time off work coming up, right?

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And she's like, hey, let's go like Let's take our son, our dog. Let's go

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to the lake. Let's get you out of here and go relax. And he's like,

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I don't want to go to the lake. Like, it's going to be annoying.

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Like, I just want to stay here and have my vacation at home and kind

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of just like be around the house and get stuff done. This is obviously before

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the portmanteau staycation had been coined or they would have used it. But yeah.

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This movie could have been called Staycation. And he has a good

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line. He's like, you know, I just want to listen to the ballgame, drink a

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couple hundred beers, maybe smoke a cigar outside.

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Yeah. So, uh, so yeah, so that's Ray's plan. Like,

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I don't want to go anywhere this week. I just want to stay here and

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enjoy being in my home without having to go to work and relax and maybe

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get some spying in. 'Cause I, 'cause I don't want to— if I leave,

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all these motherfuckers are going to be talking about me too, you know, the way

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that this neighborhood seems to be working. And we hear that their next-door neighbors with

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that crazy weird house they saw, they're named the Clopex, uh, and they've been

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there a month. Like, we get a lot of exposition just in these conversations between,

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between Carrie Fisher and Tom Hanks. And so, uh, they've been like a month and

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there's a rumor that the last house they lived in burned to the ground.

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And I think we hear this from Art. We meet Rick DuCommon's character,

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Art, who lives next door to Ray on the other side.

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And he comes over and he basically, he like says, you got anything to eat?

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And he comes in and he eats like all their food. Like he's having all

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the breakfast. It's like breakfast time, he's eating leftover ribs and stuff like out of

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tin foil. He first, we first see Art where he's

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like covered in a tree branch with a rifle and he's trying to get a

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crow out of his yard and he ends up shooting this ceramic owl instead.

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Out of Ray's yard. into Ray's backyard and he kills Ray's owl.

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He's got the crow. Yeah, he's got this little .22 or something he's shooting.

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Yeah. And then it looks like one of the Clopex, I think, kind of emerges

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from the house as they're looking at it. Yes. And, and it's like this younger

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guy, looks like, you know, early 20s maybe, really crazy looking,

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The Hills Have Eyes style dude. Very much like, you know, in Jumanji

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where the boy starts to turn into like a monkey or whatever, like a halfway

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transition thing, or very like Moe's Shrewd-ish.

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Yeah. Okay. Um, but yeah, they, they nailed

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the look on this guy. Also what I've always imagined Leatherface looks like under the

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leather, like it's this kind of style look, you know. Um, so they're,

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they're looking and he sneaks back. He's getting the newspaper or something from, from the

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front. He goes back in, but Art and Ray are standing there like debating whether

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to go up. And across the street, uh, uh, uh, what's his

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name, Rumsfeld and his wife, who by the way, as a young

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boy watching this woman, uh, Nancy Shaw is the actress's

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name, but playing Rumsfeld's wife, like crawl around the garden in these little tiny shorts

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that even Corey Feldman's character Ricky comments on. Yeah, this was an awakening moment

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for 10-year-old Steve, like for sure. Gorgeous woman,

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tiny outfit, that worked for me. I, I miss not having seen this

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as a kid because, yeah, she's fantastic. Really quite special.

14:43.576 --> 14:46.943
So, so the neighbors are all kind of like, you know, like, are they

14:47.443 --> 14:50.229
gonna do it? Are you gonna go say hi? So everyone's watching and there's this

14:50.729 --> 14:53.771
very ominous music as Ray and Art are kind of walking to the door.

14:53.980 --> 14:57.779
Yeah. And then it's zooming in on each neighbor's face as they're watching them,

14:58.228 --> 15:01.145
including zooming in on the dogs. Queenie.

15:01.353 --> 15:04.991
Yeah, great work by Queenie. It's overwrought, but in the— in

15:05.491 --> 15:08.982
a positive way. Like, it's clearly meant to be like facetiously— yes,

15:09.207 --> 15:12.925
giving us this extra tension. And it's really, really great the way that Joe Dante

15:13.213 --> 15:17.028
did this. Yeah, yeah. So they go up to knock on the door,

15:17.156 --> 15:20.875
right? And the address, the numbers on the, on the house say

15:20.923 --> 15:25.234
669, right? And they knock on the door and then the last 9 flips

15:25.734 --> 15:29.460
over, you know, so it's 666. And then before anyone comes to

15:29.960 --> 15:33.280
the door, all these bees start coming out. So Art and Ray are

15:33.780 --> 15:36.420
like covered in bees. They're running down the street. Ah,

15:36.920 --> 15:40.220
yeah. And Rumsfield's like trying to chase them, spray them with the hose. Yeah,

15:40.720 --> 15:43.540
he sprays them way too long, you know. It's like Billy Madison, like, mister,

15:44.040 --> 15:44.920
I don't even know you.

15:46.680 --> 15:50.440
Or like, I imagine like when Tommy Boy— and I'm a

15:50.940 --> 15:55.540
maniac. Yeah, maybe when he's getting like hosed down by Rob Lowe, like Yeah,

15:56.040 --> 15:58.910
so so that is is good stuff. But at first I thought they were wasps.

15:58.920 --> 16:01.560
They make it clear that it's bees. Yeah, I I would have thought it made

16:02.060 --> 16:04.540
more sense if it was wasps or hornets, but they say bees. But I don't

16:05.040 --> 16:08.300
know, dude. I'd be like either way. I'm covered in bees, and if someone says

16:08.800 --> 16:11.350
oh those are actually hornets, they'd be like fucking spray me with a hose.

16:11.440 --> 16:15.100
Also, do you remember? This reminds me like whatever happened to the whole Africanized

16:15.600 --> 16:18.180
killer bees thing that was supposed to come and like destroy the ecology of the

16:18.680 --> 16:20.960
United States? Wasn't this a thing like twenty years ago? Yeah, they're coming out with

16:21.460 --> 16:24.780
Arabized killer bees now to hit the new fear. They're Iranian killer bees

16:25.280 --> 16:28.748
coming. Oh boy, um, not looking

16:28.780 --> 16:32.460
forward to that. So, uh, so Ray goes out, uh, for a walk at night,

16:32.540 --> 16:36.637
right? Yeah. And, uh, and he's sneaking a cigar. And Art— Art

16:37.137 --> 16:41.040
and the Corey Feldman character there— so they're all such like instigators

16:41.136 --> 16:44.446
and shit talkers, especially Art. Oh my God. So as Ray is walking out— and

16:44.946 --> 16:48.270
Ray's like his best friend, right? So I understand like kind of joking and talking

16:48.302 --> 16:50.873
shit, but you leave your best friends out of it when you're talking to third

16:51.373 --> 16:54.910
parties. And he's just like, hey, You know, a lot of people don't know this,

16:55.410 --> 16:57.910
or Ray doesn't tell anyone, but he comes over because he's not allowed to smoke

16:58.410 --> 17:01.190
cigars in his house. And they're like, oh, hey, Ray, how you doing, buddy?

17:01.690 --> 17:04.750
Need a lighter? It's, it's kind of dick, but that's all right. Yeah,

17:05.250 --> 17:08.710
yeah. And this is when Art gives us an interesting town background story,

17:09.210 --> 17:12.650
right? About this guy Skip who ran the, uh, the drugstore, the soda

17:13.150 --> 17:16.190
jerk, the soda fountain at the drugstore, whatever. And, you know,

17:16.690 --> 17:19.770
normal guy, everybody in town liked him, he was friendly to everyone at the,

17:20.270 --> 17:22.270
at the soda fountain, whatever. And Ray even is like, oh yeah, I remember this

17:22.770 --> 17:25.087
guy, you know, whatever. And he's like, yeah, well, there's this terrible, terrible terrible heat

17:25.587 --> 17:28.250
wave one summer and his house started to stink. And everybody was like, why does

17:28.750 --> 17:32.265
it smell so bad? And, and basically it was like, you know, the, the— I

17:32.313 --> 17:35.622
think the house caught fire. When the firefighters put out the fire, they went

17:36.122 --> 17:39.926
in and found Skip's entire family was dead, had been dead for months, just rotting

17:39.974 --> 17:43.073
inside the house. Yeah. You know, the whole point is like, you never know

17:43.089 --> 17:46.606
what's going on in the 'burbs, man. You never know what secrets people

17:47.106 --> 17:50.444
are hiding. And that's the plan here. And he said that, uh, that his family

17:50.461 --> 17:53.925
had been killed with an ice pick. Oh, that's right. Oh, and this was about

17:54.425 --> 17:56.891
another street. Just kind of funny that they called it Elm Street. Yeah, I know,

17:56.971 --> 18:00.209
right? But one thing about Art telling the story, I feel

18:00.225 --> 18:03.832
like, you know, the way he's building the story, it's— there's

18:03.928 --> 18:07.311
this crazy smell and nobody knows what it is. And then he's like,

18:07.792 --> 18:11.014
and this guy killed his family. And then he tells a lot more of the

18:11.514 --> 18:15.053
story, and then he's like, and that smell was the dead bodies. Like, yeah,

18:15.069 --> 18:18.708
you fucking said he killed the family a while ago, dude. Not the best sequencing

18:19.208 --> 18:22.908
of the story. Yeah, yeah, not a great storyteller, Art. And if that—

18:23.020 --> 18:26.225
look, if that's character choice about Art, the character not

18:26.725 --> 18:29.477
being a good storyteller, that's brilliant. I don't think it is. I think it's just

18:29.509 --> 18:32.586
kind of out of place. Yeah. One thing I actually, you know, one thing I,

18:32.938 --> 18:36.960
uh, I read about this film, okay, is that when it

18:37.460 --> 18:40.581
was being produced, it was during a writer's strike. Oh, okay. And,

18:40.709 --> 18:43.128
uh, because of that, you know, a lot of times when things are being made

18:43.628 --> 18:46.941
during that time, there's not rewrites and punch-up and all this. So they're

18:46.957 --> 18:50.354
relying a lot on like improvised lines, okay, and things like that.

18:50.418 --> 18:54.490
So there's a lot in this movie that's been improvised by, by Tom

18:54.990 --> 18:58.850
Hanks, by the guy who plays Art, and by Bruce Dern.

18:59.350 --> 19:02.850
Okay. Throughout this movie. So maybe it was one of those where he's telling the

19:03.350 --> 19:06.230
story and just kind of like rambling. Yeah. And you know what, that makes a

19:06.730 --> 19:08.390
lot of sense. It comes off like the kind of story where it's like,

19:08.890 --> 19:12.250
you know, you know the important information that you need to give it, and you

19:12.750 --> 19:14.870
know about how long you're supposed to talk, but you didn't really think through like

19:15.370 --> 19:18.230
exactly how to lay out the information. Totally. So the information comes out earlier than

19:18.730 --> 19:20.650
you wanted it to because that's what's on your mind. Yeah. Make sure I mention

19:21.150 --> 19:22.910
that this guy killed his family with an ice pick. The ice pick's an important

19:23.470 --> 19:26.450
and, you know, detail the story. Don't forget to mention the ice pick,

19:26.950 --> 19:29.530
right? He's saying to himself. Uh, but yeah, then it kind of doesn't come out

19:30.030 --> 19:33.690
quite right. Yeah. Um, so it— but this is good, you know,

19:34.190 --> 19:37.530
good little bit of background. And Art is just there to kind of get everybody

19:38.030 --> 19:41.130
scared and spooked and, and stuff. Like, he's, he's such an

19:41.630 --> 19:45.290
instigator. He's like AWACS from Menace II Society, another movie that barely leaves

19:45.790 --> 19:48.770
a block. That's true, actually. Um, little— well, you got the park, you got a

19:49.270 --> 19:52.774
few— yeah, you got a couple minutes, but yeah, they go down So the Corey

19:52.806 --> 19:56.399
Feldman character is out on the porch and he's got a

19:56.899 --> 20:00.424
couple folding chairs and he's got his girlfriend with him. He's wearing like Michael Jackson's

20:00.924 --> 20:03.760
leather jacket. Yeah. Another thing that I read about the production,

20:03.872 --> 20:07.432
not to drop all these, all these great facts, but so Corey Feldman

20:07.480 --> 20:10.383
in real life, good friends with Michael Jackson, and,

20:10.993 --> 20:14.280
and he hung out with Michael Jackson's Bubbles, the monkey chimp. Oh,

20:14.296 --> 20:17.670
the monkey chimp. Yeah, the chimp. Yeah. Michael Jackson had So I guess the chimp

20:18.170 --> 20:21.250
was hanging around a lot during the filming of this movie. Wow. So,

20:21.750 --> 20:24.950
uh, that's funny. Good old, good old Bubbles, man. They couldn't find

20:25.450 --> 20:27.970
a part for Bubbles. They couldn't put it— put a chimp in here somewhere.

20:28.470 --> 20:30.950
Throw him in there, throw a little hat on him, do something. Yeah.

20:31.450 --> 20:34.830
Um, so, so the girlfriend's like, what are we gonna do? And he's like,

20:35.330 --> 20:37.510
oh, this is the best show. This is the best show in the world.

20:38.010 --> 20:40.610
Like, we don't need to watch TV. We don't need anything like that. Like,

20:41.110 --> 20:45.149
just pull up a chair. And he's And this is actually a pretty good device

20:45.342 --> 20:48.724
of just giving us information while letting it

20:49.224 --> 20:52.860
flow into the story. So it's Corey Feldman telling his girlfriend about the different people

20:53.036 --> 20:56.162
on this street. Yeah, it's like, yeah, Ray is the only skeptic here. Like,

20:56.178 --> 20:59.448
he thinks everything's normal and, you know, this is what Art's

20:59.948 --> 21:02.510
doing. And yeah, I thought, I thought that was pretty well done to like catch

21:03.010 --> 21:05.620
us up. Yeah, absolutely. No, that's— if you're gonna do an exposition dump, kind of

21:06.120 --> 21:09.387
the only way that doesn't totally suck is to do it to where there's a

21:09.887 --> 21:12.817
good reason that one of the characters needs information. Yeah. And the other one has

21:12.930 --> 21:16.120
it and it like you and make it make sense without being too, you know,

21:16.620 --> 21:18.900
whatever. And it's a great job. And it's— because it's light, also light exposition.

21:19.400 --> 21:22.900
It's stuff that we've mostly gathered about these characters already, just confirming like,

21:23.400 --> 21:25.700
hey, just so everybody's on the same page. So all the kids that are watching

21:26.200 --> 21:29.940
this PG movie understand, we're gonna hammer this home. Exactly, which is a totally fair

21:30.440 --> 21:32.720
choice, you know. Uh, but yeah, they're basically like people watching it. It's like the

21:33.220 --> 21:36.140
best, the best show on— that's not on TV. Um, and now there's still— there's

21:36.640 --> 21:40.420
more crazy light coming from the Clopex basement. And, uh, you know,

21:40.920 --> 21:44.230
they're, they're the, uh, Art and Rumsfeld and Ray, they're all watching kind of from

21:44.730 --> 21:47.930
across the street. Rumsfeld's got this crazy infrared night

21:48.430 --> 21:49.650
vision scope. Like a night vision scope, yeah. But it looks like it has a

21:50.150 --> 21:51.750
huge— like, I don't know how— this must have been how they worked back then,

21:52.250 --> 21:55.470
but it's almost like a big red bulb spotlight thing on

21:55.970 --> 21:57.850
the top. I don't know how this thing would work, but it's very weird looking,

21:58.350 --> 22:01.190
and it's got an enormous piece to it that wouldn't be on modern night vision

22:01.690 --> 22:05.350
stuff. So very odd. But they're watching, and the Clopex garage— it's like a detached

22:05.850 --> 22:08.230
garage, right? It's not part of the house. It's an attached garage. The door opens

22:08.730 --> 22:12.310
up, Car, really old sedan, right, comes rolling down the

22:12.810 --> 22:15.969
driveway. He pulls— the young guy

22:16.469 --> 22:20.045
again gets out, pulls a huge garbage bag out of the trunk, puts it into

22:20.061 --> 22:23.079
the trash can, has to use like a hoe, like a garden tool, like slam

22:23.127 --> 22:25.919
down and push down. Yeah, right, all this stuff. And they're watching this, and then

22:26.419 --> 22:30.028
just gets back in the car and backs back into the garage. And Ray even

22:30.528 --> 22:33.222
says it straight up, he's like, I've never seen somebody drive their trash to the

22:33.722 --> 22:36.849
end of the driveway. It is very weird. Super strange.

22:36.945 --> 22:40.540
Super odd. Yeah. Um, but they choose to not go investigate

22:41.040 --> 22:43.991
now because everybody's up and like whatever that they— and, and, you know, Rumshield even

22:44.491 --> 22:46.687
says that trash ain't going anywhere, we'll check it first thing in the morning,

22:46.719 --> 22:48.950
right? The trash will be there in the morning, let's check it out. And it

22:49.450 --> 22:52.738
is like starting to rain and everything on them too, so they're ready to,

22:52.882 --> 22:56.156
uh, they're ready to be done. Uh, Ray real

22:56.333 --> 22:59.832
quick is back at his house and he looks out his window into the Clopex

22:59.896 --> 23:03.411
yard and he sees 3 figures in the

23:03.911 --> 23:07.274
yard. very aggressively digging holes with shovels and pickaxes.

23:07.659 --> 23:11.009
Very grave-sized holes. I mean, suspicious type. Very suspicious. Right?

23:11.170 --> 23:14.231
You're not planting a tomato plant. And if you— and if you wanted

23:14.731 --> 23:17.694
to do a ton of digging quickly during the rain, it's a great time to

23:17.758 --> 23:21.140
do it. The ground's soft, it'll move easier. Like, that is— that is a good

23:21.221 --> 23:25.453
sort of thing there. So when the morning comes though, the trash

23:25.953 --> 23:28.322
guys are there and they're picking up the garbage and they're— and they're putting it

23:28.822 --> 23:32.025
back. And these 2 are very funny. I recognize the skinnier guy more than the—

23:32.666 --> 23:34.782
the— I can't remember what he was in, but he's been in a bunch of

23:34.814 --> 23:38.080
stuff. He was in teacher on The Wonder Years. Oh yes,

23:38.580 --> 23:41.080
you're right. Yeah, but he's been a child actor. This out to me. But yeah,

23:41.580 --> 23:44.040
I wasn't sure, but both these guys I'd seen been in stuff. Yeah, the kind

23:44.540 --> 23:47.560
of character actors you see and stuff. And so, so they're just like chatting about,

23:48.060 --> 23:49.540
you know, I don't know what they're talking about. It's kind of funny, but it's

23:50.040 --> 23:52.160
something about, I don't know, like health insurance or something. Oh, he wants the guy—

23:52.660 --> 23:56.180
he's like, oh, are you gonna, uh— the guy can't do something because he's got

23:56.680 --> 24:00.020
a bowling match against something, you know, like something important he can't do.

24:00.520 --> 24:03.380
It's, yeah, a little chatter back and forth, but, but the neighbors all realize,

24:03.880 --> 24:05.640
oh crap, they've taken the garbage. Art comes running out of his house and it's

24:06.140 --> 24:09.540
like No, no, no, no, stop, stop, stop. And he starts like digging through the

24:10.040 --> 24:12.140
back of the, you know, dumping the trash on the ground and digging through the

24:12.640 --> 24:15.820
back of the, uh, of the garbage truck. And Rumsfeld comes out and helps him

24:16.320 --> 24:17.900
and all this stuff. And like Ray is out there, they're all looking, and it's

24:18.400 --> 24:20.640
like, no, man, there's nothing here. Yeah, they must have gotten rid of it.

24:21.140 --> 24:24.320
There's nothing here. Yeah. And, uh, and they're being like so rude to

24:24.820 --> 24:27.360
the garbage man, just dumping it on the ground in front of their face,

24:27.540 --> 24:30.560
you know? And the guy's like, who's gonna pick this up? And they're like,

24:31.060 --> 24:34.200
you are, you're the garbage man. We get a my taxes pay your

24:34.700 --> 24:38.703
salary, which I always love. Classic '80s line. Little, uh, little little 2

24:39.203 --> 24:42.603
Dads 1 Movie tip. If you ever get pulled over, make sure you let the

24:42.619 --> 24:46.006
officer know that your taxes pay their salary, because sometimes they'll realize it

24:46.150 --> 24:49.617
and out of appreciation let you go. Nic, we can't do

24:50.117 --> 24:53.261
that to people. Yeah, we're gonna get our listeners shot. The right thing to do

24:53.325 --> 24:56.535
is shut the fuck up, never say anything to any cop ever. That's my advice.

24:56.600 --> 25:00.259
But yeah, anyway, um, but yeah, so, so they're doing this and then they realize

25:00.436 --> 25:03.791
that like Walter isn't there. The dog Queenie runs

25:03.887 --> 25:07.530
up to, uh, Rumsfeld's wife or whatever, right? And the dog— yeah,

25:07.996 --> 25:11.170
clearly like not where it's supposed to be. Very weird.

25:11.670 --> 25:15.050
Yeah. Yeah. And, and she goes over, well, I'm gonna go take Walter's dog back

25:15.550 --> 25:18.850
to him. Yeah. Yeah, there's no answer at the house. So yeah, everybody immediately

25:19.350 --> 25:22.590
like goes in the house. Yeah, they just basically break into Walter's house. In fact,

25:23.090 --> 25:26.130
Rumsfeld has like cut the, the glass out or whatever. He's like, soldier's way.

25:26.630 --> 25:29.350
It's like, dude, that's not— did you work for the CIA? Like, they don't teach

25:29.850 --> 25:33.210
soldiers how to like cut glass like that. That's like normal infantry work. Yeah.

25:33.710 --> 25:36.090
Yeah, you know, he makes several references to being in Southeast Asia. So he's obviously

25:36.590 --> 25:39.340
a 'Nam veteran, right? Right. Um, but yeah, so they break in and they're kind

25:39.840 --> 25:42.500
of looking around, and, you know, there's like a pile of mail at the— near

25:43.000 --> 25:46.060
the front door. And then the kid's toupee is like in the kitchen, right?

25:46.560 --> 25:48.920
You know, it's actually funny, the wife— Rumfield's wife screams because she thinks it's a

25:49.420 --> 25:53.560
rat or whatever, but it's just his toupee. And Rumfield's like, nobody leaves— nobody with

25:54.060 --> 25:56.920
a toupee ever leaves anywhere without it. These old guys, they don't leave house without

25:57.420 --> 25:59.180
their hair. And it's like, that's a good point. So, but he says he must

25:59.680 --> 26:02.920
have left in a hurry, you know, and whatever that was. Um, and so they

26:03.420 --> 26:06.740
go and, uh, Ray leaves a note that says, Walter, I've got

26:07.240 --> 26:10.077
your dog. Uh, and puts the note and the, uh,

26:10.318 --> 26:13.508
toupee like back to the mail slot and takes Queenie to their house to like

26:14.008 --> 26:15.768
make sure she keeps fed and stuff like that. So, which is good. But,

26:16.153 --> 26:19.584
but yeah, so there's that. And one of the CloPacks is watching as Walter is

26:19.696 --> 26:22.549
putting the note through the mail slot, or as Ray is putting the note through

26:22.581 --> 26:25.178
Walter's mail slot. That's right, it looks up. Um,

26:25.868 --> 26:29.202
so Art, I love it. Him keep— he keeps pushing

26:29.250 --> 26:32.649
it. He's escalating this, right? So he's never been more convinced of anything in his

26:32.665 --> 26:36.550
life. So clearly Walter's dead. We found his

26:37.050 --> 26:40.290
toupee. His dog is loose. Like, he's clearly been killed by the

26:40.790 --> 26:44.110
Cloak Factory. We saw them dumping that garbage. Yeah, so that must have been— that

26:44.610 --> 26:48.150
must have been Walter's body. Obviously there's no other real solution there. It's definitely that.

26:48.650 --> 26:51.850
No. And then— and Ray and Art now are in the basement with this like

26:52.350 --> 26:56.090
demonology book, both smoking cigars. I gotta say, seems like a

26:56.590 --> 26:59.380
good fucking time just hanging out with your boys reading about the occult.

26:59.810 --> 27:02.850
And, uh, sounds fun. Can I find a copy of that book? I actually really

27:03.350 --> 27:07.290
want to read it. Oh my God. We really do need that book.

27:07.790 --> 27:10.970
It's like the Necronomicon, just not in human flesh or whatever. Like,

27:11.470 --> 27:15.010
yeah, exactly. Uh, and, uh, and, uh,

27:15.510 --> 27:19.670
Ray's like, oh, you know, my wife said like it's probably, you know, whatever explanation.

27:20.170 --> 27:24.370
And Art's like, who listens to their wife? You gotta listen to me. So bad.

27:24.870 --> 27:28.030
He's such a caricature for sure, but a lot of fun. Yeah, yeah. Uh,

27:28.530 --> 27:31.470
and then Ray is gonna go to bed, right? Or— Yeah, he's like, I'm done

27:31.970 --> 27:34.590
with this. Like, I'm gonna watch some TV, like whatever. And then everything on TV

27:35.090 --> 27:39.113
is this like— there first there's this like hooded

27:39.210 --> 27:42.286
kind of like, uh, human sacrifice scene,

27:42.414 --> 27:45.571
you know, with very kind of like Eyes Wide Shut looking cloaked,

27:45.699 --> 27:49.481
uh, characters. And then there's like something that's clearly

27:49.981 --> 27:54.064
supposed to be The Exorcist but isn't The Exorcist. And then Texas Chainsaw Massacre,

27:54.144 --> 27:57.734
but not actually it. But it's all horror movies, every channel. So he can't escape

27:58.234 --> 28:01.996
that. And what are the chances with like 4 total channels back then to

28:02.496 --> 28:05.939
like hit, you know, Especially because I don't think they tell us what time

28:05.987 --> 28:09.433
of year this is. They don't make a big deal about it being any particular

28:09.933 --> 28:12.575
season. I mean, it's summer-ish, I guess. I don't really know. So it's not like

28:13.075 --> 28:16.567
it's Halloween. We need a recurring ad like in Halloween III: Season

28:17.067 --> 28:19.660
of the Witch, this letting us know how many days until Halloween this is.

28:19.853 --> 28:22.594
Oh man. Um, so, uh,

28:23.075 --> 28:26.793
so yeah, I, I do love this, that they're just like a couple boys

28:26.890 --> 28:29.951
hanging out, making each other more paranoid and drinking beers and

28:30.451 --> 28:33.944
stuff. stuff. Um, Ray has a dream now. He's gone to sleep

28:34.444 --> 28:37.553
after watching all this disturbing stuff, learning what he did about the Clopex,

28:37.633 --> 28:40.664
the demonology book, the story about the guy who killed his family

28:40.680 --> 28:43.855
with the ice pick. I think all this information has entered his brain in one

28:43.984 --> 28:47.287
day. Yeah, exactly. Yeah, no, it's quick. It's all, it's all pretty quick. And so,

28:47.432 --> 28:50.719
so of course, Ray— there's a gene, uh, dream sequence where Ray's,

28:50.864 --> 28:54.231
you know, dreaming, and that chainsaw goes through the wall. His wife is

28:54.731 --> 28:58.224
calling to him, you know, and then he's tied down to a giant barbecue

28:58.240 --> 29:02.311
grill, uh, with these like creepy horned hooded people. This is another

29:02.423 --> 29:06.062
thing where, you know, this is not a horror movie, but this imagery is legit.

29:06.175 --> 29:09.974
Like during these couple scenes, it's really actually scary.

29:10.102 --> 29:14.366
I remember legit being scared of ice picks

29:14.767 --> 29:17.556
after seeing this. Like, like thinking of ice picks as— well, because we had one,

29:17.572 --> 29:19.736
we had an ice pick in one of the drawers. It was on like a

29:20.236 --> 29:23.038
big, uh, had like a big piece of cardboard, like corrugated cardboard. Yeah, it's like

29:23.538 --> 29:25.507
a sheath, you know, whatever, so it wouldn't just poke you. But it's like,

29:25.523 --> 29:28.040
you know, I always thought, man, that's a super crazy thing now that I've seen

29:28.056 --> 29:30.876
this movie, it would be years later when I would see Basic Instinct and see

29:31.376 --> 29:34.723
what an ice pick is really for. Um, but you know, uh, this was definitely

29:35.223 --> 29:39.450
scary. This is where I think this absolutely counts and fits into our Shocktoberfest

29:39.950 --> 29:43.136
setup because it is not really a horror movie in any traditional sense,

29:43.457 --> 29:46.694
but it's scary. And especially given that it's PG and it's Tom

29:46.726 --> 29:49.723
Hanks and it's Corey Feldman and it's the kind of thing my mom was like,

29:49.771 --> 29:53.441
yeah, of course you can watch this. You know, it's not as scary as Gremlins,

29:53.634 --> 29:57.159
but it's scary. And it definitely has this imagery that, that can stick with a

29:57.659 --> 30:00.511
kid for a while, for sure. Yeah. And then, you know, going right from the

30:01.011 --> 30:04.025
scary to the goofy shit. So he's, he's on the grill,

30:04.282 --> 30:07.153
and then all of a sudden he looks and he sees Walter, the, the missing

30:07.266 --> 30:10.491
neighbor. Yeah. And he has— he's sitting there holding his dog,

30:10.523 --> 30:14.469
and he has this axe, like this very kind of medieval shape, like the

30:14.550 --> 30:18.577
axe you buy from Spirit Halloween. Yeah, yeah, right. And it's stuck in his head.

30:18.721 --> 30:22.090
And then, great gag, the dog has a smaller axe stuck

30:22.590 --> 30:25.827
in it. So adorable. Really good. And then we have, uh,

30:26.035 --> 30:29.306
Art appears, but he's really as Skip,

30:29.322 --> 30:32.929
the ice pick guy. And this is a good dream sequence thing where it's,

30:33.314 --> 30:37.065
you know, somebody like— I would have a dream and it's like the landlord

30:37.097 --> 30:41.089
to my building, but it's Steve, you know? Like that kind of stuff happens

30:41.589 --> 30:44.119
all the time. So this is relatable. Are you dreaming about me? Yeah, man,

30:44.135 --> 30:47.838
you're charging me that rent. Yeah, um, I gotta get my money. You better pay

30:48.338 --> 30:51.770
me, bitch. Uh, so So Art comes to Skip and he's

30:52.270 --> 30:54.910
all covered in blood and creepy and stuff. He's got the ice pick and everything.

30:55.410 --> 30:58.830
Yeah, yeah. So Ray wakes up like he's, he's horrified. He's done with this.

30:59.330 --> 31:01.510
So you do the thing that you need to do when you have a real

31:02.010 --> 31:05.850
scary dream is do the comp— watch the most comforting thing possible. So he's watching

31:06.350 --> 31:09.330
some Mr. Rogers. Mr. Rogers, I love it. And, uh, and drinking some OJ and

31:09.830 --> 31:11.650
trying to like, trying to get back to normal. And I think actually, I think

31:12.150 --> 31:14.090
we skipped it, but I think Carrie Fisher and the son, they've already left,

31:14.230 --> 31:16.552
right? Was they leave the day before or about to leave? Because I feel like

31:16.568 --> 31:19.551
at this point they're about to— they're about to leave. Okay, so he sent— that's

31:20.051 --> 31:23.656
right, he sends them off, uh, because he and, and, and Rumsfeld

31:24.156 --> 31:27.666
and Art, they're gonna basically go into the, uh, uh, Clopex house,

31:27.714 --> 31:30.953
right? Isn't that— Yeah, so, so first— Oh no, that's right, they haven't gone to

31:31.453 --> 31:34.978
visit yet. Yeah, Rumsfeld and, uh, Art come over to get

31:35.011 --> 31:38.282
Ray, you know? That's right. And this scene I think is, is really funny the

31:38.314 --> 31:42.114
way that they play it, because when they come to ask, uh,

31:42.563 --> 31:44.950
Carrie Fisher, like, can Ray come out and play,

31:44.966 --> 31:48.731
basically? And she's like, she's like, no, he's done for the day,

31:48.811 --> 31:52.512
he's not feeling well. And then they're like, oh, and they're like kicking the,

31:52.736 --> 31:55.684
kicking the ground in front of him, acting like a little kid who was told

31:56.184 --> 31:59.273
like he can't use somebody's slingshot, you know? Bruce Dern shoving his hands into his

31:59.369 --> 32:02.589
pockets. Like, it's actually cute. Bruce Dern is never cute, but this

32:03.089 --> 32:06.626
was cute. Yeah. Uh, so nice little touch there.

32:06.915 --> 32:10.295
Yeah. And then Vince, uh, Ray's dog, is digging in the backyard,

32:10.503 --> 32:13.887
and, uh, Ray's sitting back there napping. trying to get a damn nap because he

32:14.387 --> 32:16.935
got no sleep 'cause of the nightmare the night before. And Art comes and like

32:17.435 --> 32:20.273
wakes him up, right? And he's like, I was napping. Like, I'm sorry. How are

32:20.773 --> 32:24.717
you doing? But Vince, the dog, walks up with a bone and like initially

32:25.217 --> 32:27.172
I think Art grabs it and like tosses it to him, like, or Ray does

32:27.188 --> 32:29.418
or somebody. And the dog goes and gets it and brings it back. And then

32:29.918 --> 32:32.226
they realize what it is. And it's, you know, like a human femur is what

32:32.726 --> 32:35.965
he says. It is the cleanest bone I've ever seen in my life.

32:36.029 --> 32:39.463
Seriously. The idea that it might have been recently retrieved from a

32:39.963 --> 32:43.330
body is ludicrous. Like, it's absolutely ridiculous. Like, that's Walter. It's like,

32:43.346 --> 32:46.925
no, dude, you saw Walter at most— you saw him 2 days ago. That's the

32:47.425 --> 32:51.001
longest ago that you've seen him, or, you know, the worst it's been. There's no

32:51.033 --> 32:54.965
way that, like, it's been cleaned off that much. No, absolutely not.

32:55.671 --> 32:59.217
Um, oh, and, uh, so Art and Rumsfeld,

32:59.362 --> 33:03.069
uh, right before this had left a note. They rang the doorbell at the Clopex

33:03.569 --> 33:06.134
house and they left a note that said, I saw what you did. I know

33:06.278 --> 33:09.373
what you did. Yeah. Um, so we got him now, buddy.

33:09.646 --> 33:12.147
It's like, no, you don't.

33:13.429 --> 33:16.699
So, uh, so they're screaming, right? They pick up the bullhorn like, oh my

33:17.199 --> 33:20.306
God, this is Walter! The camera like zooms in and out on them. And it

33:20.806 --> 33:23.592
zooms in and out until they're done screaming, and then it stays on them,

33:23.656 --> 33:26.878
which again, nice touch, Joe Dante. Very funny. Uh,

33:27.343 --> 33:30.036
and they look and they see a figure on the other side of the fence

33:30.886 --> 33:34.733
throw something over, and they walk up and, oh shit, this is the note

33:35.233 --> 33:37.923
that we left under there, or put in their door. They threw it back over

33:38.423 --> 33:40.410
to us. Ray's sort of like, well, in Ray's Ray's like, you left a note,

33:40.910 --> 33:43.370
but they saw me leave a note for Walter, so they're gonna think I left

33:43.870 --> 33:46.530
your note. And then when they throw it over Ray's fence into Ray's yard,

33:47.030 --> 33:49.490
it sort of confirms, yeah, they do think Ray left that note, you know what

33:49.990 --> 33:52.630
I mean, kind of thing. Um, so they all decide— they chitchat with the wives

33:53.130 --> 33:56.370
a little bit, Rumsfeld and, and Ray. They talk with their wives and they decide,

33:56.590 --> 34:00.670
let's, let's all go over there. She even says that— Rumsfeld's wife says, I'll make

34:01.170 --> 34:04.090
brownies. Bonnie, I think her name is. Bonnie will make brownies. We'll just go over

34:04.590 --> 34:06.350
there and we'll just— we should have done this a month ago and just said

34:06.850 --> 34:09.610
hi. This is ridiculous. Yeah. You boys are being crazy. And,

34:10.110 --> 34:14.030
and it's so funny, like the Bonnie character, Mrs. Rumsfeld, she like fast changes her

34:14.530 --> 34:17.730
outfits a few times. There's a few scenes where, you know, she's wearing one thing

34:18.230 --> 34:21.170
and then it cuts to them doing something else and like a pretty small amount

34:21.670 --> 34:23.750
of time has passed and she has a completely different outfit on, which I think

34:24.250 --> 34:27.130
is kind of funny, especially because Carrie Fisher's character seems to wear like one or

34:27.630 --> 34:29.810
two things the entire movie long. Right. It's kind of funny. But, um, but so

34:30.310 --> 34:31.990
they all go up and they decide, let's knock on the door, let's talk with

34:32.490 --> 34:35.190
some people. But again, they like, I think Bruce Dern, the same, falls through more

34:35.690 --> 34:37.950
of the like— Yes, foot just falls through the deck. Yeah, drops the brownies.

34:38.450 --> 34:41.291
It's a mess, like whatever. But eventually, like, you know,

34:41.387 --> 34:44.679
an old man, not the young guy that we've been seeing, answers the

34:45.179 --> 34:47.505
door, I think, right? Or does the other guy answer? The same guy answers,

34:47.569 --> 34:51.069
the redhead guy, right? That's right. Okay. Who they, they get— his name is Hans.

34:51.182 --> 34:55.003
Hans. But then once they're inside, this, this very funny looking

34:55.180 --> 34:58.535
old man, uh, Uncle Reuben, comes in and joins the party.

34:58.632 --> 35:02.196
Very strange looking guy. Uh, good. There's a great moment where Rumshiel picks up

35:02.696 --> 35:05.119
a picture and there's like this blonde woman in it. He goes, well, who's this?

35:05.215 --> 35:08.631
And he He goes, it came with the frame. Yeah, it came with

35:08.647 --> 35:12.640
the frame. I love that. Really nice. Uh, and meanwhile, Art is

35:12.768 --> 35:15.944
sneaking into their backyard. That's right, right. So while this is happening,

35:15.960 --> 35:19.103
he's trying to sneak into the backyard. A very awkward

35:19.603 --> 35:23.208
silence while they're all kind of hanging out here inside the Addams Family home.

35:23.417 --> 35:26.560
Like, it's so bad in there, and just like inability to make small

35:27.060 --> 35:30.890
talk, and everyone's kind of looking around. And finally, Hans comes out with some refreshments

35:31.390 --> 35:34.743
for everybody. Oh, thank God. Gross. And, uh, and it's a bowl of pretzels and

35:35.243 --> 35:38.404
a can of sardines. And he's going around and he's only offering the sardines.

35:38.516 --> 35:41.952
He's just using sardine, sardine, sardine. And I have to say,

35:41.968 --> 35:44.650
I gotta point it out when I see it. Oh, uh,

35:45.260 --> 35:48.921
great Foley artistry on the sardines. They made them sound so disgusting.

35:49.017 --> 35:52.373
Sardines aren't even that gross. Sardines are good. And,

35:53.272 --> 35:56.933
uh, I mean, that guy's sardines aren't good, but sardines are fine.

35:57.606 --> 36:02.205
And, uh, it was, it was funny that they made it seem like so crunchy.

36:02.333 --> 36:06.451
This is like, they nailed it. I mean, uh, very anti-sardine.

36:06.499 --> 36:10.505
The sardine lobby was not happy with this movie at all. I can do soft-shell

36:10.521 --> 36:14.030
crab, you know, where you're like eating part of the shell while you eat the

36:14.530 --> 36:17.155
meat. Something about sardines and the fact that the bones are still inside and they're

36:17.655 --> 36:20.648
just so tiny you can eat them, like, freaks me out. Sardines are, uh,

36:20.920 --> 36:23.500
fillets. Oh, is it only ever fillets? I thought the whole point of sardines was

36:24.000 --> 36:27.730
like— Yeah, you're not eating the whole fish. Okay, well, in cartoons you are.

36:28.230 --> 36:30.690
I was gonna say that. Yeah, yeah, but I bought some at one point and

36:31.190 --> 36:33.310
they had the head off and the tail off, but for some reason I thought—

36:33.810 --> 36:36.590
I didn't realize they were filleted. No, you're not eating the whole, uh, the bone

36:37.090 --> 36:40.850
and stuff. It's a whole concept. Pick up— when I— when I burn my

36:41.350 --> 36:44.690
Gross Point Blank CD for you, I'll bring you some sardines too. You know what,

36:45.190 --> 36:49.410
I don't need the CD that bad. That's okay. Okay, just the sardines. Oh no.

36:49.910 --> 36:53.200
So Ray, and then the way that, uh, the way that Ray

36:53.700 --> 36:57.180
responds to eating the sardines, it's like he's like coughing,

36:57.680 --> 37:00.960
sneezing, and dry heaving at the same time, but in such a miniature way to

37:01.460 --> 37:04.260
not be discovered. Like, I don't understand what he's doing. I can't tell if he's

37:04.760 --> 37:08.100
like allergic to something, if it's causing an allergic reaction, because he says something about

37:08.600 --> 37:12.000
dust. But just, just trying to choke it

37:12.500 --> 37:16.280
down without looking like he's choking it down. So strange. Yeah.

37:16.780 --> 37:19.840
Um, and they're asking— they're trying to ask Uncle Reuben about,

37:20.340 --> 37:21.560
you know, the people who lived here in the house before, like what happened to

37:23.168 --> 37:26.781
Uh, and Reuben references his brother, the doctor,

37:26.910 --> 37:29.431
right? My brother, the doctor. Just the two of you who live here? He's like,

37:29.480 --> 37:32.724
no, the three of us. My brother, the doctor. My brother, the doctor. Like,

37:32.949 --> 37:36.643
he's so aggro. Um, and so the doctor, the brother

37:37.143 --> 37:39.437
doctor, does come up from, from the basement at one point and comes in to

37:39.453 --> 37:42.665
like shake hands and whatever. And it looks like his hand is all bloody.

37:42.987 --> 37:46.440
Yes. He shakes Ray's hand, it's red, and like all this stuff. And then we

37:46.940 --> 37:48.769
like sort of cut to moments later or whatever, and he talks about, oh,

37:48.849 --> 37:51.997
I'm so sorry, I was working on my painting. Sorry about the red paint.

37:52.222 --> 37:56.470
And the doctor played by, uh, Henry Gibson, who— he's

37:56.970 --> 37:59.740
been in a bunch of stuff. He's in The Blues Brothers. Uh, he looks like

37:59.756 --> 38:02.129
a little adorable little elf in this movie.

38:02.642 --> 38:06.104
He's just such a cute little guy in this movie. Big doe eyes. Yes,

38:06.233 --> 38:09.343
really. Uh, so they're,

38:09.375 --> 38:13.254
they're hanging out now, uh, that the doctor's here. So they've got the 3 Clopaks

38:13.302 --> 38:16.156
and the 4 of them, and there's like classical music playing,

38:16.749 --> 38:20.116
candles lit in a way that's like a roaring fire, like the

38:20.616 --> 38:23.850
most blazing group of candles I've ever seen. It's crazy. It's got to like 30

38:23.866 --> 38:27.520
candles tightly together and they're all lit and kind of firing off together.

38:27.568 --> 38:30.548
They're like all thin and it just— It's like almost a Roman candle.

38:30.997 --> 38:34.570
Yeah, it's like, it's like a campfire on your kitchen table. Yes, yes. Uh,

38:34.858 --> 38:38.496
and the doctor explains to them they, they've moved every year for the last 4

38:38.560 --> 38:42.149
years, you know. Um, oh, and they say, and tomorrow we have to go

38:42.649 --> 38:45.946
back to the university to discuss another transfer or something. Like, they might be getting—

38:46.074 --> 38:49.664
they might be moving again. But the boys here, especially, you know, Rumsfeld and Ray,

38:49.680 --> 38:52.003
they hear, well, they're going to be gone tomorrow. They're gonna be out of the

38:52.503 --> 38:56.057
house tomorrow. Yeah, and Rumsfeld is really like instigating during

38:56.073 --> 38:59.663
this, right? So he's like, he's saying very accusatory

38:59.775 --> 39:03.060
things to them. And, uh, you know, they— I think they say something about,

39:03.076 --> 39:05.624
oh, it's great to meet all of our neighbors. He's like, well, not all the

39:06.124 --> 39:09.855
neighbors. We don't know where Walter is, right? And then Ray spills his coffee

39:09.935 --> 39:13.396
all over himself. Good physical comedy by Tom Hanks as he gets up

39:13.896 --> 39:16.873
and, yeah, uh, freaks out. So, uh,

39:17.323 --> 39:20.455
Uh, they open the basement, or is Rumsfeld— he

39:20.696 --> 39:23.507
keeps trying to get them to show, show him the basement. Yeah, yeah.

39:23.651 --> 39:27.362
And I think, uh, Art has been snooping around towards

39:27.862 --> 39:30.076
the basement in the back or whatever, that kind of thing. But yeah, but Art,

39:30.092 --> 39:32.598
like, Ray or somebody opens the door. Who opens the door to the basement?

39:32.662 --> 39:35.923
I don't actually remember now, because whoever does it, the— this huge

39:36.019 --> 39:38.798
Great Dane comes bounding out of the basement door. I mean,

39:38.846 --> 39:42.316
enormous dog. Yeah. And it's just running, and then it runs into the backyard

39:42.816 --> 39:46.247
and catches Art snooping, right? And then Art has to run away from, from that

39:46.747 --> 39:49.921
dog, and he trips over these wires that are on top of their fence that

39:50.421 --> 39:53.467
then turn on an alarm and all these lights. So it's clear they have their

39:53.515 --> 39:56.338
fence line sort of wired for alarm, the Kopecks do.

39:56.804 --> 40:00.478
And they all see, like, they see Art on his way back over and everything.

40:00.654 --> 40:04.056
And yeah, so good, good giant dog chaos scene. Yeah, yeah.

40:04.344 --> 40:07.473
Um, and, uh, and Ray's gotta,

40:07.489 --> 40:11.004
like, you know, kind of talk to the— talk to

40:11.504 --> 40:13.556
the boys and be done with it. This is what his wife tells him.

40:13.620 --> 40:16.397
Oh, right. Yeah, yeah. All right, like, this is crazy. Yep.

40:16.542 --> 40:19.704
Like, these people are fine. They're weird, but they're just people. They're normal people.

40:19.913 --> 40:23.814
He's a doctor. He's a painter. It's been explained. Yep. Tell your friends it's

40:23.862 --> 40:27.217
over. And of course, you know, it's not

40:27.717 --> 40:30.893
over. No, no, no. Because Ray discloses to his

40:30.989 --> 40:33.926
friends, he's like, hey, look what I have. Yeah. And they're like, yeah,

40:33.975 --> 40:37.250
that's Walter's toupee. We saw that earlier. He's like, Yeah, but I got this

40:37.750 --> 40:40.670
from the Clopex house. In the Clopex house. I put this in Walter's house earlier,

40:41.183 --> 40:44.668
and now it's at their house. Like, what the fuck? They're leaving town.

40:44.732 --> 40:48.007
Like, when they leave, we're going in. We gotta go check it out because he's,

40:48.024 --> 40:51.444
he's in that backyard. As he says, he, he— they buried Walter in that backyard.

40:51.540 --> 40:54.542
Yeah, when I saw them digging that night or whatever, they had seen us put

40:54.671 --> 40:57.577
the— they knew we saw them put the trash out,

40:58.043 --> 41:01.174
and so they changed gears and they buried Walter in the backyard. So we got

41:01.674 --> 41:04.241
to get back there. So that's what we're gonna do. So he sends Carol and

41:04.741 --> 41:07.644
the son off to the cottage, the lake house, whatever they've been talking about,

41:07.709 --> 41:10.502
some place they've been— she's been trying to convince him to go. They're just gonna

41:11.002 --> 41:13.200
go. So they're out of town, and this is like, this is the day where

41:13.700 --> 41:16.363
it's all gonna happen. So they see the Klopecks leave in their car, all 3

41:16.863 --> 41:18.771
of them drive off. You know, it really doesn't make a lot of sense.

41:18.836 --> 41:22.111
I feel like Reuben could have stayed behind if the conversation had to be between

41:22.127 --> 41:25.274
the doctor and the university. Right. You know, Hans could have driven, been his driver,

41:25.675 --> 41:28.692
and Reuben could have stayed behind and avoided all this problem. But he didn't.

41:29.109 --> 41:31.994
Uh, he heads up, and it looks like the first thing that they need to

41:32.494 --> 41:34.959
do in order to make sure that, you know, this is going to go down

41:35.459 --> 41:38.470
the way they want it to is Art is going to go up the electrical

41:38.566 --> 41:41.723
power pole and, and cut off some of the power to

41:42.223 --> 41:44.801
their house to disable the alarm system. Which, you know, again,

41:45.170 --> 41:48.295
sometimes, you know, movies are fiction, and sometimes they're teaching you

41:48.795 --> 41:52.239
good real-life, uh, information. Which one's this? All you need to do is get a

41:52.287 --> 41:54.947
pair of, like, standard branch climber, uh, trimmers,

41:55.718 --> 41:59.315
And climb on up that pole. Like, don't even worry about it. Garden shears.

41:59.443 --> 42:02.735
Don't ground yourself. Don't worry about it. So Art goes up there,

42:03.184 --> 42:06.829
and of course, you know, once he cuts it, he falls off there,

42:06.910 --> 42:10.763
and he falls through the roof of the shed. On Ray's side. Yeah, Ray's shed.

42:10.811 --> 42:14.119
Yeah. And he's been electrocuted, and he's saying how, like, you know,

42:14.183 --> 42:17.571
his fillings have heated up, and he's hot to the touch. And this

42:18.071 --> 42:20.317
lasts, like, longer than it should, which I think makes it funny.

42:21.750 --> 42:25.638
Yep, and during all this happening, the Rumsfield

42:26.138 --> 42:29.542
is up on his roof with like a sniper rifle and stuff. Corey Feldman's just

42:29.574 --> 42:32.797
watching, and oh, he's invited friends over too. Yeah, he's got like friends over,

42:33.040 --> 42:36.002
including Nikki Cat. Oh really? Yeah,

42:36.018 --> 42:39.481
he's he's one of the long-haired friends. Oh nice! Oh, I didn't recognize Nikki.

42:39.578 --> 42:43.071
That's great. I love Nikki Cat. So let's see.

42:43.153 --> 42:46.388
Raynard are in the yard there, and they're digging.

42:46.870 --> 42:50.470
They're going inside, and they're also saying,

42:50.970 --> 42:53.440
like, okay, well, we're gonna check inside. Well, it's— they're digging and it's hot.

42:53.450 --> 42:56.590
They're kind of like, we're not finding anything. It's hella hot out here. Let's go

42:57.090 --> 43:00.690
inside. They probably moved Walter. You know, he's like— Art makes this kind of thing.

43:01.190 --> 43:03.110
He's like, well, they probably saw us, knew that what we know that they know,

43:03.610 --> 43:05.270
so they probably dug him back up and moved him and buried him in the

43:05.770 --> 43:07.630
basement. Yeah. All right, man, you just want to go inside where it's not hot.

43:07.710 --> 43:10.490
That's fine. You just want to grab something out of their fridge. Uh, and when

43:10.990 --> 43:13.510
they go to break in the door, uh, Ray says to Art, he's like,

43:14.010 --> 43:15.969
do you have a credit card to help me? help open the door. And then

43:16.098 --> 43:20.772
Art's wallet has been melted, Planes, Trains, and Automobiles style. So it's

43:20.836 --> 43:24.370
perfect. Um, so, uh, yeah,

43:24.594 --> 43:28.626
in the basement they find once again they have a super

43:29.126 --> 43:32.754
Freddy Krueger slash Grosse Pointe High School style furnace in there.

43:32.947 --> 43:36.705
It's crazy. Uh, which has a temperature gauge that goes up to 5,000,

43:36.737 --> 43:39.500
which seems like that'll get you there. I, I did a little research because I

43:39.548 --> 43:42.838
had to. I'm like, yeah, 5,000 seems just— even for

43:43.338 --> 43:46.175
like a crematorium, it seems ridiculous. So I looked it up, and a crematorium furnace

43:46.271 --> 43:49.608
that would just completely ashifies bone and everything,

43:49.672 --> 43:52.271
right, they hit about 1,800 degrees.

43:52.929 --> 43:56.635
5,000-degree furnaces do exist. They are very specialized pieces of equipment

43:57.135 --> 44:00.919
for like melting platinum, like for doing like really heavy metal work.

44:01.015 --> 44:04.304
Yeah. Very hard metals and melting them down. So it's like to have something

44:04.336 --> 44:07.620
that would go 5,000 doesn't even make sense necessarily for for this, but it also,

44:07.930 --> 44:10.670
if it's also just intended to be like, we know this is crazy high.

44:11.170 --> 44:14.670
Yeah, it definitely covers that. But like a 5,000-degree furnace would like on its

44:15.170 --> 44:18.570
own burn the house down. Yeah, exactly. Just the sheer temperature. There'd be nothing to

44:19.070 --> 44:22.790
bury. There'd be, yeah. You certainly would not end up with bones being left

44:23.290 --> 44:27.410
over. That's for sure. Like, yeah. 5,000 is like what the Terminators were fighting

44:27.910 --> 44:31.830
in at the end of T2. That's like what he drops himself into.

44:32.330 --> 44:35.550
That's probably not even 5,000. Yeah, that's probably like 3,000 or 4,000 degrees.

44:36.050 --> 44:38.831
You know what I mean? This is crazy. But it gets the point across.

44:38.943 --> 44:42.056
Yes. So they see this and this convinces them that like,

44:42.296 --> 44:45.521
this is what they're doing. They're killing people here. And sure enough, it's a basement.

44:45.601 --> 44:48.569
It's like a dirt floor basement. So they just start digging and they're digging.

44:48.633 --> 44:51.953
I mean, and they get down fast. Like Tom Hanks is

44:52.082 --> 44:55.900
in this pit that he's digging up to his head seemingly,

44:56.237 --> 44:58.659
you know, I mean, I get that the day has passed and it's getting dark

44:59.159 --> 45:01.274
out, but like this takes a long time to dig like this. Oh my God.

45:01.627 --> 45:05.156
And so, but— The most inaccurate inaccurate thing in cinema

45:05.656 --> 45:07.787
is how long it takes to dig a hole. Oh my God, 100%. And it

45:08.287 --> 45:10.017
has to be, or else movies would just suck. You could never have a movie

45:10.033 --> 45:12.921
where anyone digs anything for any reason. Digging a hole. Oh, they did a movie,

45:12.953 --> 45:16.097
it was called Holes. Shia LaBeouf was in it. Yeah. Um, and the Clopex are

45:16.226 --> 45:19.033
returning. We see their car. So they see that like the,

45:19.354 --> 45:22.515
the lights in their basement are on in their house. Yep. And they back

45:22.627 --> 45:25.932
out of the neighborhood. Yeah. And, uh, and what Art and Ray

45:26.432 --> 45:29.429
are being like, we found Walter, because they're convinced that this loose dirt they're digging

45:29.461 --> 45:32.541
out Like, it doesn't matter if we're there yet. Like, he's, he's here.

45:32.670 --> 45:34.916
Well, and they hit some metal at some point. It's like, oh, that must be

45:35.416 --> 45:38.605
it, you know? And, uh, and Art goes running out of the house, you know,

45:39.022 --> 45:43.145
to tell everyone. Meanwhile, Walter— yes— is actually

45:43.177 --> 45:46.899
pulling up into his driveway. He's arriving back at his house. He's been gone somewhere.

45:47.428 --> 45:50.974
Yep. And he's there. So he's been driven home by like 2 younger

45:51.022 --> 45:54.358
people. Yeah, yeah. And Art is freaking out. He's like, oh shit. He's like,

45:54.647 --> 45:58.050
Ray, get out of there, get out of there. the Clopex, after they saw

45:58.098 --> 46:01.068
this, are coming back now with the cops following behind them.

46:01.229 --> 46:04.729
Which is the right move. So they've called the cops, and Ray's

46:04.826 --> 46:08.021
inside the house. He's inside the house. He's still down in the basement. Art's outside,

46:08.679 --> 46:12.292
uh, and, uh, Ray hits something that

46:12.792 --> 46:16.338
starts bubbling up the, like, mud that he's standing in, and he realizes he's broken

46:16.838 --> 46:19.774
the gas line, which is like— that was buried really— I don't know that they

46:20.274 --> 46:22.990
bury gas lines that deep under houses, but there you go. So he tries to

46:23.490 --> 46:25.550
run out, and before he can even get out of the house, the house explodes.

46:26.430 --> 46:28.730
And when we were talking about the $18 million budget, I really feel like this

46:29.230 --> 46:32.390
was a huge chunk of it because this was a big house and it burned

46:32.890 --> 46:35.450
and it blew up that set. Not a model. Like, this was a good— a

46:35.950 --> 46:39.090
very good scene. Very realistic. Yeah, very good practical effects. You know what's weird?

46:39.590 --> 46:42.830
At the very beginning of the movie, when it's kind of like showing the street

46:43.330 --> 46:46.570
and like zooming down, it looks very much like that house is a

46:47.070 --> 46:49.790
model. It is. The whole street is for that zoom. Okay, that— that's just for

46:50.290 --> 46:51.850
that scene. They zoomed in because this is all on a backlot. In fact,

46:52.350 --> 46:55.672
there's even a point where they're supposed to be in the Midwest. Where it zooms

46:56.172 --> 46:58.657
in on the map of the US is definitely somewhere in the Midwest. I guess

46:59.157 --> 47:02.429
I think ballpark it around Iowa. Yeah. And they zoom in

47:02.929 --> 47:06.201
and they see this house. It's definitely a model of the neighborhood, but the actual

47:06.701 --> 47:10.422
movie is filmed clearly on a Hollywood backlot, right? So when Art— or actually,

47:10.438 --> 47:14.274
when Rumsfeld is up on the roof, what you see behind him is so clearly

47:14.306 --> 47:18.110
Southern California, the way the hills are and the buildings in the distance and stuff.

47:18.158 --> 47:21.625
It's just like so clearly not the Midwest. There's too many hills in the distance,

47:21.673 --> 47:24.500
you know? Yeah. so flat out there. Like Iowa, I don't think there's a hill

47:25.000 --> 47:27.500
in Iowa, for Christ's sake. Like, you know, and so it's— to me, that's a

47:28.000 --> 47:31.280
funny little like thing. But yeah, so they— I don't know where— There's not a

47:31.780 --> 47:35.020
W Hotel in Davenport, Iowa. Exactly right.

47:35.520 --> 47:38.880
Yeah, yeah. Bloomington, Indiana doesn't have like the Capitol Records building in the background.

47:39.380 --> 47:41.680
Yeah, like, uh, but you know, so wherever they blew this house up, I don't

47:42.180 --> 47:45.160
know if it was like a model and then they burned the real one to

47:45.660 --> 47:48.470
get the effect or what it was, but there was some combination of model and

47:48.970 --> 47:52.130
large-scale sets, full-size sets. So that's gotta be where some of the expense

47:52.630 --> 47:55.990
is, 'cause this explosion's fantastic. Yeah. The house really does look fucking demolished at the

47:56.490 --> 47:59.630
end, and it's actively burning, because then everybody now is freaked out. Now the whole

48:00.130 --> 48:02.770
neighborhood's out, the cops are there, Carol and the son have come home, like all

48:03.270 --> 48:05.240
this, 'cause they were just gone for the day apparently. Like they didn't go away,

48:05.310 --> 48:08.950
they just went to like visit family or something. And everybody's freaking out. And then

48:09.450 --> 48:13.410
I think it's Rumsfeld's wife said something like, something's moving in there. And Ray just

48:13.910 --> 48:17.310
destroyed, his clothes are shredded, whatever, but he's able to stumble out

48:17.810 --> 48:20.881
of this house. He somehow did not get blown up even though he was

48:21.138 --> 48:24.786
always, at all times, he was in between the

48:25.286 --> 48:28.851
source of the gas and the exit because he only travels from the source

48:28.867 --> 48:31.679
of the gas to the exit. So how does he not blow up? And the

48:32.179 --> 48:35.777
spark, you know, I'm sure the spark from his pickaxe

48:36.277 --> 48:39.296
could have ignited that. It's like, yeah, I think the idea is all that happens

48:39.796 --> 48:42.188
is your clothes get kind of torn. I guess the gas filled the basement,

48:42.204 --> 48:45.431
and then if that furnace was even on at all that would be enough to

48:45.931 --> 48:48.045
them, but it would take a minute. Like, it wouldn't happen right away, I guess.

48:48.141 --> 48:51.412
Like, I don't know. But anyway, he survived. Nobody, nobody dies in

48:51.912 --> 48:54.715
this movie. He survived it, and he walks out, and we've got, you know,

48:54.795 --> 48:57.842
this really triumphant music as Ray comes out alive. Yep.

48:58.146 --> 49:01.946
Um, and, you know, he's like, uh, and Art's

49:02.446 --> 49:04.977
like, you found it, right? Tell me you found it. Yeah, yeah, yeah. Uh,

49:05.137 --> 49:08.986
and Carol and, uh, and the son return. Yeah. So everything's

49:09.486 --> 49:12.884
kind of happening all at once. There's all this chaos in the neighborhood. And,

49:12.900 --> 49:15.984
uh, and Ray's kind of having

49:16.032 --> 49:19.469
this realization. He's like, oh, we're the

49:19.501 --> 49:23.501
fucking crazy— yeah, we're the psychos. They're not. They're just normal. They're just regular people,

49:23.597 --> 49:27.147
and we cannot like contain our fucking curiosity and our need

49:27.647 --> 49:31.468
to like poke in everybody's business. Like, we're the psychos. We should be apologizing to

49:31.968 --> 49:35.933
everybody, right? Absolutely. Uh, and then he has kind of a funny meltdown.

49:36.190 --> 49:37.250
It's really good where he's like,

49:37.411 --> 49:40.340
he's He's like, I've been blown up, take me to the hospital.

49:40.960 --> 49:44.280
And he, and he like flings himself on the gurney and then he gets up

49:44.780 --> 49:47.120
and he picks up the gurney and throws it in the ambulance and gets on

49:47.620 --> 49:50.220
it and just— He gets onto the gurney and nobody's wheeling him into the ambulance.

49:50.720 --> 49:53.560
He's like, I'll fucking do it myself. He throws the gurney and he jumps in.

49:53.960 --> 49:56.780
And Carol's like, okay, well, I'll find out what hospital they're taking you to and

49:57.280 --> 50:00.280
I'll meet you there. And she goes, okay, okay. You know,

50:00.780 --> 50:04.080
and so, and, but then as he's sitting in there, Dr. Klopek gets

50:04.580 --> 50:08.510
in. basically just admits that,

50:08.690 --> 50:11.230
you know, he's like, you must have found my skull, my skull. And he's like,

50:11.730 --> 50:14.090
he didn't find a skull. He doesn't know. Like, it's one of the Napps,

50:14.590 --> 50:16.390
'cause, you know, we killed them and all this. He basically admits to everything.

50:16.890 --> 50:20.290
And he's got this syringe. He's gonna, you know, inject something into, into,

50:20.790 --> 50:23.590
uh, uh, Ray's neck or whatever to kill him, I guess. Yep. And we find

50:24.090 --> 50:26.770
out that Hans is the one driving the ambulance. Like, so Ray and the doctor

50:27.270 --> 50:30.470
are struggling and fighting and, and they're able to like make it hap— make

50:30.970 --> 50:34.190
enough chaos within the ambulance happen that Hans

50:34.690 --> 50:35.570
gets like pushed and, and whatever. And it ends up driving into Art's car.

50:36.960 --> 50:40.426
Bart's house. Yeah, basically. And, and, and whatever. And they get out

50:40.442 --> 50:43.909
and he makes— he's like, citizen's arrest, citizen's arrest, I'm arresting you,

50:43.925 --> 50:47.151
citizen's arrest! And the doctor tries to play dumb. Um,

50:47.344 --> 50:50.714
but yeah, yeah. And, uh, and during this scene, uh, you know,

50:50.730 --> 50:54.165
that Corey Feldman and his friends are just like cheering the party on.

50:54.406 --> 50:58.242
He's like, oh, the pizza dude's coming! So during this ambulance sequence,

50:58.258 --> 51:01.500
the pizza truck crashes and like 60 pizzas roll out of

51:01.532 --> 51:04.560
the side of it. It's like Why would there be that many pizzas in one

51:05.060 --> 51:08.180
delivery truck? But anyway, uh, and then we see in the Clopex car there's like

51:08.680 --> 51:11.660
a full trunk of human bones. Just not even a tarp over it. No,

51:12.160 --> 51:15.420
nothing. Just completely chilling. Just loose skeletons in there.

51:15.540 --> 51:18.920
Not in a bag. Um, which just exonerates all the bad behavior

51:19.420 --> 51:22.520
of the entire neighborhood. Yeah. Right? Because they were right. So it's like, yeah,

51:23.020 --> 51:26.500
dude, these were evil killer people. Good job. Jack Bauer was allowed to torture them.

51:27.000 --> 51:29.960
There you go. Because he admitted to this thing. Yeah. The ends always justify the

51:30.460 --> 51:34.404
means, as we have learned from this movie. Uh, so the Clopecks

51:34.904 --> 51:38.113
are, are arrested. Yep. And, um, and, uh,

51:38.578 --> 51:41.789
Art wants Ray to stay. Art's wife arrives. I don't think

51:41.805 --> 51:44.631
we even know that Art has a wife until the end here.

51:44.760 --> 51:48.035
Oh, he mentions something about her at some point. He acts very much like every,

51:48.147 --> 51:51.519
like, angry divorced guy friend that I have. Um,

51:52.386 --> 51:55.420
and, you know, they end up, uh, he goes back into his house and,

51:55.677 --> 51:59.017
uh, his wife's— oh, he says to Art, he's like, hey, uh, your wife's

51:59.113 --> 52:02.870
home and your house is on fire. And Art's

52:03.370 --> 52:06.003
It's like, my wife's home. Oh no, he's all pissed. This is such an '80s

52:06.115 --> 52:09.360
thing, by the way, that just doesn't— didn't really track into the '90s as much.

52:09.424 --> 52:12.813
But the whole Married with Children, like, hating your wife thing, I feel

52:13.313 --> 52:17.358
like died out by the mid-'90s. But it was so peak comedy in Hollywood

52:17.519 --> 52:20.796
at this era. Oh my God. Uh, and then we end with

52:20.972 --> 52:24.891
Corey Feldman doing a God, I love this street, which is

52:24.939 --> 52:28.567
such a cheesy-ass way to end. And that's The 'Burbs.

52:28.615 --> 52:31.758
But that is The 'Burbs. Um, all right, Nic, man,

52:31.806 --> 52:34.756
give us your— give us your, uh, your rundown here. How did this movie touch

52:34.772 --> 52:38.717
you? So, uh, so the thing I mentioned earlier about the, the writer's strike I

52:39.217 --> 52:42.533
think was interesting. Um, and I guess, uh, you know,

52:42.581 --> 52:45.788
there were issues with getting this made, like a limited amount

52:46.288 --> 52:50.069
of time or whatever. Um, there were actually 3 different endings

52:50.165 --> 52:53.324
that were filmed for this movie. All right. Uh, so we have the one that

52:53.824 --> 52:57.706
we used where Dr. Clope Dr. Klopek sees Ray in the

52:57.786 --> 53:00.902
ambulance. They crash, the Klopeks get arrested, get discovered as being

53:01.255 --> 53:04.997
murderers, right? Okay. Version number 2 was

53:05.174 --> 53:08.723
that it turns out there's nothing. Yeah,

53:08.883 --> 53:12.336
the Klopeks didn't do anything, and Ray's the crazy one, and it

53:12.836 --> 53:15.259
kind of ends with him having that realization. Oh my God, are you serious?

53:15.388 --> 53:18.792
Right? That's hilarious. And then version number 3 was that

53:19.322 --> 53:23.464
Dr. Klopek actually kills Ray. Oh, in the ambulance

53:23.964 --> 53:27.203
at the end, and they drive off, you know, with him and, and the use

53:27.703 --> 53:30.957
of his body. So I thought that was kind of interesting because like, how different—

53:31.182 --> 53:34.824
Yeah. Would this have turned out? Because I love— I— so

53:35.530 --> 53:39.060
having never seen this movie before, I kind of thought like,

53:39.076 --> 53:42.670
and I had regrets leading up to this, like, oh man, why did I

53:43.170 --> 53:46.408
fucking pick this? Like, I could have picked a lot of different stuff. And,

53:46.504 --> 53:50.291
uh, and I really, uh, enjoyed this way more than I

53:50.791 --> 53:54.566
thought I would. Like watching it as something that's not supposed to be a horror,

53:54.598 --> 53:57.671
it's just something that's like neighborhood hang type movie.

53:57.736 --> 54:00.049
Yeah, you know, like we talked about, we've seen those recently.

54:01.678 --> 54:05.092
I had a good time with it. I could. I liked Ray and Art just

54:05.592 --> 54:09.299
kind of hanging out and feeding into each other's like worst habits

54:09.799 --> 54:13.154
and paranoia and stuff like that. It's two guys who are bad influences

54:13.654 --> 54:16.343
on each other who are like best friends, right? Like oh, we're gonna smoke more

54:16.391 --> 54:20.129
cigars. We're gonna drink more beers. We're gonna get into more conspiracy stuff. stuff if

54:20.177 --> 54:23.878
we hang out together versus like going to the lake with our family or

54:24.378 --> 54:28.061
going wherever Art's wife went. Yeah. Um, the cast was pretty good.

54:28.125 --> 54:31.169
Carrie Fisher, I don't think they gave her enough to do. Like, they didn't really

54:31.233 --> 54:34.615
give her a lot to do. But I— there was a funness

54:35.115 --> 54:37.771
to this movie, and, and it had a uniqueness that I did enjoy. Uh,

54:38.204 --> 54:40.912
it's not the greatest movie in the world, and I think, um,

54:42.146 --> 54:45.559
you know, I, I don't know if it's for everybody,

54:45.655 --> 54:49.008
but But it's, it's broadly like entertaining and,

54:49.024 --> 54:52.714
uh, a lot of cartoony type stuff that I really liked. Although it didn't show

54:52.730 --> 54:56.419
Ray like fully blown up with like the, the coal black

54:56.919 --> 54:59.692
face and his hair sticking directly straight up, but it was pretty close to that.

55:00.013 --> 55:03.029
Yeah. Um, but I did have a lot of fun with this movie, uh,

55:03.221 --> 55:07.007
and I'm gonna give The 'Burbs a 3.5 out of 5. I think that this

55:07.507 --> 55:11.130
is— it's worth checking out. And it's just crazy to see how different the Tom

55:11.242 --> 55:14.434
Hanks stuff was at this point in his career versus,

55:14.611 --> 55:17.964
you know, what were you— the, the very dead serious kind of

55:18.381 --> 55:21.526
run that he went on. Yeah, this is very pre-Philadelphia Forrest

55:22.026 --> 55:24.575
Gump, and he's an Oscar-winning actor kind of thing for sure. This is the Money

55:25.075 --> 55:28.362
Pit, Big, Bachelor Party sort of era of Tom Hanks' career.

55:28.586 --> 55:31.972
Yeah, which is, which is great too. Splash, Bosom Buddies. Yeah, um,

55:32.341 --> 55:36.048
very cool. Okay, so 3.5, that's good stuff. I— so this is funny, the fact

55:36.548 --> 55:38.326
that you just, you just gave me new information. I didn't know that they had

55:38.375 --> 55:42.226
like 3 sort of designed endings and they went with this one, because when

55:42.290 --> 55:44.215
I watched this movie this time, again, I'd seen it a ton as a kid,

55:44.280 --> 55:47.148
did, but not in a long time. And my wife would back this up.

55:47.196 --> 55:48.958
Like, I literally turned to her and I said, you know what would have made

55:49.458 --> 55:53.045
this a much better movie? If they had just ended after Tom Hanks's freakout

55:53.589 --> 55:56.954
and the Clopex never actually did anything wrong. Yeah, this would have been a better

55:56.970 --> 56:00.464
movie this way, even if they didn't like tell us they did nothing wrong,

56:00.576 --> 56:04.341
but they just never explicitly showed it. Yeah, never revealed that,

56:04.422 --> 56:07.482
that yes, the neighbors were psychos, not the Clopex.

56:07.546 --> 56:10.350
Like, that would have been a better movie in my opinion. And then you mentioned

56:10.850 --> 56:13.621
a third one where it was like Clopec actually kills Ray as they drive off.

56:13.878 --> 56:17.855
That's also, to me, a better movie than the way this ending ended. By having

56:18.433 --> 56:21.704
all of Art and Rumsfeld's and Ray's activities basically

56:22.137 --> 56:25.842
washed away as okay because the Clopecs are killers— Yeah.

56:25.906 --> 56:28.664
Like, kind of fucking takes any teeth out of this this movie could have had.

56:29.177 --> 56:32.850
Um, I thought I would really, really enjoy this looking back on it.

56:33.267 --> 56:37.620
I watched it, uh, this week and it was fine. This movie's There's

56:38.120 --> 56:41.840
nothing wrong with it. It's not that interesting. Not enough happens to really make me

56:42.340 --> 56:44.260
like go, oh cool, you know? And it's like, I do like some of the

56:44.760 --> 56:47.100
hang stuff and some of the, you know, bro-y— like, I mean, look, the Brewster

56:47.600 --> 56:51.060
and Rick DuCommon, Tom Hanks trio is very funny and really does a lot of

56:51.560 --> 56:53.900
great stuff. Like you said, feeds off each other. There's all that. Um, but I

56:54.400 --> 56:57.540
just like, I don't love the like sort of message of the movie. Like,

56:58.040 --> 56:59.900
like Art's little thing when he's talking to the press at the end about,

57:00.400 --> 57:02.380
ah, you know, watch out for the people in the 'burbs. We're not gonna take

57:02.880 --> 57:05.380
anymore. We're not just gonna, you know, we're coming for you crazy people. And it's

57:05.416 --> 57:08.398
It's like, what a dumb thing. Yeah, 'cause we don't want— like, I, I see

57:08.898 --> 57:12.294
what you're saying. Like, if the movie was to kind of skewer the idea of

57:12.326 --> 57:15.854
these, like, overly nosy neighbors, then the ending doesn't

57:16.354 --> 57:19.413
serve that in any way. Correct, exactly. Like, if this was basically— these guys are

57:19.461 --> 57:22.524
the proto-HOA, and everything that HOAs do horribly

57:22.748 --> 57:26.276
is, is rooted in Ray and Art and Rumsfeld— that to me is a funnier,

57:26.292 --> 57:29.707
more interesting movie where they just blew up a neighbor's house because of

57:29.723 --> 57:33.459
their suspicions of, like, their xenophobia, basically. That to me is a better movie

57:33.540 --> 57:36.190
in this. Yeah. Um, so, but I have to rate the movie that exists,

57:36.800 --> 57:40.180
obviously. Uh, and I, you know, again, it's fine. I'm a 2.5

57:40.680 --> 57:42.700
out of 5 on, on The 'Burbs. There's nothing wrong with it, but it's not

57:43.200 --> 57:45.660
one I'm gonna run out. I'll probably, honestly, if I never see this movie again,

57:46.160 --> 57:48.840
I probably don't care, you know, that kind of thing. Um, but that puts us

57:49.340 --> 57:52.640
at collectively at 6 out of 10 on The 'Burbs. Uh, and I think

57:53.140 --> 57:55.540
that's about right, you know. It feels like a 6 out of 10 movie to

57:56.040 --> 57:58.860
me. You know, I'm surprised that my score was as high as it was,

57:59.360 --> 58:01.829
and I wouldn't expect it to be that for everyone. Yeah, I think this is

58:01.926 --> 58:05.283
just about, you know, a down the middle, like, yeah, if the opportunity

58:05.315 --> 58:08.737
arises, go ahead and watch it, but don't, you know, don't make a side quest

58:08.769 --> 58:11.500
for it. And if you think— if you, like me, kind of watched it as

58:11.516 --> 58:13.813
a kid, you think you've got nostalgia for it, watch it again, see if it

58:14.313 --> 58:17.620
holds. Maybe it does, maybe it doesn't. I think I've just gotten to be

58:17.925 --> 58:20.721
a little bit more of a film nerd and kind of interested in, like,

58:20.737 --> 58:23.451
storytelling and stuff, so that a movie like this, the issues I have with it

58:23.468 --> 58:26.648
aren't the sequences and little bits. Those are all great, all the little comedy,

58:26.745 --> 58:29.810
all the little you know, lines and the jokes, those all work out great.

58:30.310 --> 58:33.570
I don't love that the story told us like a shitty story, in my opinion,

58:34.070 --> 58:36.670
right? Where it's like, there's no good lesson to learn from it. There's no kind

58:37.170 --> 58:39.430
of point to it. You know, at the end of the day, the only thing

58:39.930 --> 58:42.550
that's really changed about that street is that there's a house that's been blown up

58:43.050 --> 58:46.390
on it. Like, that's right. The other characters have not really changed in any

58:46.890 --> 58:49.350
meaningful way. Like, nobody has an arc. Like, nobody, you know what I mean?

58:49.850 --> 58:51.010
There's all this stuff. So it's like, those are the kind of things that kind

58:51.510 --> 58:54.180
of keep me from liking it. We need a de maire on this street.

58:54.190 --> 58:57.804
Something. Something like that. Yeah. Oh man. Okay, well, 6 for The

58:57.868 --> 59:01.091
'Burbs. That's good. Well, uh, Steve, we're continuing, uh,

59:01.476 --> 59:04.026
into Shocktoberfest 2, Electric Boogaloo.

59:04.507 --> 59:07.811
And, uh, you know, I'm keeping it lighthearted. I'm sure we're gonna continue. Uh,

59:08.597 --> 59:12.366
what, what kind of, uh, wistful jaunt through the horror genre do

59:12.866 --> 59:15.172
you have? I got a little— I got a little happy-go-lucky movie. And I'll be

59:15.672 --> 59:18.973
honest with you, it's really not a traditional horror. I'm not picking a traditional

59:19.473 --> 59:22.806
horror movie. It's very lighthearted. No serious topics.

59:23.271 --> 59:26.479
Uh, uh, you know, even the gore is like okay. There's no point in this

59:26.979 --> 59:29.880
movie where you're gonna see something and go, oh God, that's definitely not gonna happen.

59:29.928 --> 59:33.072
You're not gonna make the sardine noise. No, no, definitely not. Um, no,

59:33.136 --> 59:37.065
we're going to go— this is from the late '90s. This is a David Fincher

59:37.565 --> 59:41.011
film. This is a movie about a couple of detectives. You've got the old detective,

59:41.027 --> 59:44.091
the young detective, you know, the classic kind of setup in that way. Um,

59:44.363 --> 59:46.946
and, and it's a serial killer movie, so we're kind of in that Silence of

59:47.446 --> 59:50.827
the Lambs adjacent world when it comes to to like quote scary movies,

59:50.875 --> 59:54.276
right? Um, but I'll be fair, I'm being a little facetious. This one's definitely fucking

59:54.308 --> 59:57.740
scarier than Silence of the Lambs. Uh, it is all about a serial

59:57.836 --> 01:00:01.269
killer who seems to be killing people by theming his

01:00:01.381 --> 01:00:04.653
kills of the 7 deadly sins. And, uh, we're gonna

01:00:05.153 --> 01:00:08.198
watch Se7en. And, uh, and I'm gonna put this movie into the— I'm gonna put

01:00:08.698 --> 01:00:14.100
this episode information in using the original spelling of the movie's title, which was S-E-7-E-N.

01:00:14.389 --> 01:00:17.356
Mm-hmm. So there's how they stylized the, uh, the title. I always appreciated that.

01:00:17.404 --> 01:00:20.707
Later releases just changed it to S-E-V-E-N, which is dumb.

01:00:21.044 --> 01:00:24.491
Yeah, but yeah, Brad Pitt, Morgan Freeman, Kevin Spacey. This is the movie we're

01:00:24.991 --> 01:00:28.323
gonna watch next week for the continuation of Shocktoberfest 2. We're gonna watch Seven.

01:00:28.644 --> 01:00:31.787
I can't wait. I, I think I saw it when it came out. I have

01:00:32.287 --> 01:00:35.651
not seen it forever. I'm excited though. This is definitely on my

01:00:35.683 --> 01:00:38.505
list of ones I want to see soon. Yeah, this for me, like, I,

01:00:38.601 --> 01:00:41.311
I know I saw it, you know, close to when it was released, another couple

01:00:41.811 --> 01:00:44.614
times in college, maybe once more in the last 15 years. So I've, you know,

01:00:44.662 --> 01:00:47.004
it's, it's been one I've gone back to a few times. And it's, it's,

01:00:47.084 --> 01:00:50.539
it's very good. I think this is gonna be good. Wait, have we had Brad

01:00:50.683 --> 01:00:53.913
Pitt yet? Oh no, I don't think we have. What are we

01:00:54.058 --> 01:00:57.368
doing? I don't know that we've had Brad Pitt,

01:00:57.480 --> 01:01:00.645
Morgan Freeman, or Kevin Spacey yet. Holy shit.

01:01:00.806 --> 01:01:04.582
And that's, that's, that's a lot of movies between those 3 guys, right? Yeah.

01:01:04.662 --> 01:01:07.554
So we're gonna, we're gonna break this up. And, and David Fincher. And I think

01:01:08.054 --> 01:01:11.073
that this was one of the first scores that Trent Reznor did. Maybe there was

01:01:11.105 --> 01:01:13.980
definitely some Nine Inch Nails on the soundtrack. I don't know if he composed the

01:01:14.480 --> 01:01:16.884
score or not, but I— but this was, you know, Fincher and Reznor worked a

01:01:17.384 --> 01:01:20.158
lot together over the years on movies. So, so yeah, so that's what we're gonna

01:01:20.658 --> 01:01:23.720
watch next week for the second week of Shocktoberfest. We're gonna watch Seven. Beautiful.

01:01:24.169 --> 01:01:26.641
That's a wrap. So if you like what you hear, please consider heading over to

01:01:26.737 --> 01:01:29.946
Apple or Spotify and leaving us a 5-star review. It helps new folks find the

01:01:30.446 --> 01:01:33.894
show. Be sure to check out our website at twodads1movie.com. That's the number

01:01:34.394 --> 01:01:36.943
2 and the number 1. There you can explore the movies we've covered, sign up

01:01:37.443 --> 01:01:40.832
for our newsletter, The Rewind, and even get sneak previews of upcoming episodes. Once again,

01:01:40.865 --> 01:01:44.453
this has been The 'Burbs, another episode of 2 Dads 1 Movie. I'm Steve.

01:01:44.598 --> 01:01:46.925
And I'm Nic. Thank you so much for listening, and we'll catch you next week.

01:01:47.006 --> 01:01:47.152
Thanks,