Transcript
Jo: Hey everyone, Joe and Emily here. Today on Streaming Demons we have Anna Coretta. I think. Something like 2022 film.
Amelie: Yes. Yes.
Jo: We went back in time to snatch this one, but we can't talk about it until 2026, so you do the math on that motherfucker. All that and more on this Dreaming Demons. Hit it. Kidding, there's no music anymore. Or it probably was. Who knows?
Jo: Anyways, we just finished watching. You know this deal. We watch them and then we talk about them. We just finished watching this one. we were supposed to watch it last week, but difficulties ensued.
Amelie: yes
Jo: And so this was your pick from last week. And are you still thrilled about your pick from last week?
Amelie: It was... it's new! Something different from the different movies we usually watch! That's all!
Jo: Yeah, it's new. It's four years old. It's very new.
Amelie: Yeah. Yeah, so new.
Jo: Yeah, it's... Okay, I'll read the IMDb off. The IMDb off... Db off, it sounds fucking dirty. Found footage horror, which is more or less found footage-ish.
Jo: Director is Jeremy Schultz. Schultz? Sorry, my bad. Also written with Matt Weiser. A group of friends travel for a weekend away to an isolated cabin in the woods to shoot an experimental horror movie.
Jo: Slowly, the film begins to unravel and we see the true monster appear from the shadows. The plot. up I'm sorry, the director. My bad, I misread that one. It actually said the director, not the plot. That's on me.
Jo: Starring Antonia Thomas, Jeremy Schultz, Matt Weiss. So they're actually starring and writing and directing it. And sometimes it works. And Tom's, don't. hit And Jesse Stanley. I must just like say the last fucking person's name there.
Jo: It has one award. One win total, which is nice. More than my fucking book won last time. The Heartland International Festival, 2002 winner horror award, Jeremy Schultz, director. Good job, buddy. So it's an hour and a half.
Jo: And i will say this, for an hour and a half movie, it, well, you start feeling it.
Jo: You start feeling the hour and a half. It starts out well.
Amelie: Yeah.
Jo: Middle's kind of cool. Towards Act 3, you're just like, fuck me, man.
Amelie: Yeah.
Amelie: Mm-hmm.
Jo: And i think it's once the logic exits, that's when the joy exits the movie.
Jo: Is that fair?
Amelie: Yeah.
Jo: Like Act 3, there's, without spoiling it, everything else is believable except for like, well, hold on.
Amelie: Yeah. Totally fair.
Jo: How do do this without spoiling it? Let's just say, but for instance, for instance, you and I go camping.
Amelie: Yes.
Jo: Just with a film crew. Why not?
Amelie: Mm-hmm.
Jo: And like, you go missing.
Amelie: Yeah.
Jo: I'm like, oh my God, oh my God, Amelie's missing. We should probably go look for you. And we'd look for you. And then we're like, you what?
Amelie: Yeah, I hope so.
Jo: Since we're all here, can we just like, make this like, sit in this graveyard for a while? I want to get the light. oh the light The sun's coming out.
Amelie: Oh.
Jo: want to get the light. No, she'll be fine. She'll be fine.
Amelie: Yeah.
Jo: Fuck her. It's like, what the fuck, Logic? That's when the film Logic just like hiccups completely off the fucking rails.
Amelie: He would look for me. I hope he would look for me.
Jo: Yeah.
Amelie: Like, oh, she would be fine. Worst case scenario, she would fall in a beat, you know. hu girl Who knows? Who knows?
Jo: Yeah. Although that does bring up two things. Without doing a lot of, mean, the first couple of taglines I read, I didn't see the part where it says the the you know the true monster appears in the shadows, the director. and That's not actually in the original PR I got.
Jo: So i'm like, oh, the director's just being a cunt. Like, the the the guy in the red shirt is just going be a fucking asshole the entire time. To the point where you're why is anyone still here?
Jo: And we did make fun of it, i mean, a little bit for location, like the ah dark abandoned cabin that's got immaculate fucking flowers. It's abandoned, except for the gardener comes out once in a while, you know, daily.
Amelie: I want my flat to be that abandoned. Like...
Jo: Yeah, right.
Amelie: It's so beautiful. It's really lovely.
Jo: Perfectly fucking maintained.
Amelie: Yeah.
Jo: Perfectly fucking maintained. And it's shot in, I'm guessing, Canada or some shit like that. We won't hold that against them. Oh, yeah. Origin country, Canada. BC, I was right.
Jo: Okay, motherfucker.
Amelie: Oh.
Jo: BC, driving on the bridge. So you you have all these things and the the good news and bad news, the acting is really well done. It really is. Like, this is Barry.
Amelie: Yes.
Jo: oh Remember when we were doing Barry and we're saying the acting is really good cause they're good at bad being bad actors?
Amelie: Yeah.
Amelie: Yeah.
Jo: Yeah, we get that here too, where acting's so good because they have to play a bad acting sometimes.
Amelie: Mm-hmm.
Jo: And it's like, holy shit, this is dreadful. Like, oh no, the guy's this really good actor. He's playing bad for a minute.
Amelie: Mm-hmm.
Jo: And then he's popping back into actual acting again.
Amelie: Yeah.
Jo: So it's really well done on that aspect of it.
Amelie: Mm-hmm.
Jo: And you know the the it was shot well and stuff like that. you You asked me a question... You asked me a question because early on they go off, they drive in the middle of the night because Jackass wants a shot of him at his grandfather's graveyard.
Amelie: Yes. Yes. So there is this shot in the graveyard and there is a man in the darkness and they're all in the car.
Amelie: And she's panicking, the main actress, she's panicking. Oh my God, oh my God. I'm like, very simple. You get out of the car and you're like, hey dude, what's up? My name is Amelie. What's your name?
Amelie: What's your story? What's going on? Or you turn on all your light, bright light, to just light the guy.
Jo: ye um Yeah, here it is.
Amelie: And then you open the door and you talk. And you say to me, oh, oh, oh, no, no, no. What would you do? What would you do?
Jo: They weren't actually out of the car. yeah They were out of the car. They weren't in the car. They were out of the car when she spots the guy in the woods.
Amelie: yeah yeah awesome
Jo: So they weren't in the car, like didn't they have like headlights and
Amelie: isn Correct. Yes.
Jo: yeah So you kind of like transported the fucking scenario at the point. But you you you said you would like call out say, hey man, what's up? And I'm like, okay, so country road, stranger in the dark who's been following us.
Jo: Yeah, fuck that. I'm getting in the truck and I'm driving away. Fuck all this shit. Do I have my gun? No. Okay. I don't know if he has his gun. I don't want to find out.
Jo: If I have my gun, then we can see slightly different.
Amelie: And that's what is the difference between you and me. and it's so American of you because in me, for me, who is from the countryside, who lives this kind of situation when it's completely dark and there is a man there, I would speak, I would say, yes, I can see he has a shovel on his hand, but I don't think about a gun.
Jo: I have guns.
Amelie: I don't think fix the person has a gun. Like, it's really interesting. Maybe a knife, but not a gun. And you said, if I have a gun, I'm going to talk. I don't have in my French spirit, oh, I have a gun.
Amelie: Like, it's not natural for me. It's, I've got a car, I'm powerful. I can start the light of the car and light the guy.
Jo: Yeah, um you're not in the car though. That's what saying. You're transporting them into their fucking car.
Amelie: And he...
Jo: They were not in the car.
Amelie: Ah, yeah. And even if, even if I'm in the cemetery, like at the beginning of scene, cemetery, I would scream.
Jo: Do you understand?
Amelie: Hi. Hello. What's up? Because we are one, two, three. I think there were five people or four people. There are her, her boyfriend, the cameraman.
Jo: Three.
Amelie: Three versus one. Hey, hello. Two men and a woman.
Jo: Three versus one, a guy with a gun is still three versus one against a gun.
Amelie: Hey, hello. What's up? Why are you? Yeah, yeah, yeah.
Jo: At distance.
Amelie: So for me in my head as a European, i would just raise my voice. Hi, hello. What's your name? Can I help you?
Amelie: Can we help you? Because maybe he's a guardian of the cemetery. You see what I mean? Or maybe a farmer who passed who just checked who the fuck are these people who come in a lamp in the cemetery.
Amelie: You never know. That's what I imagined my in my in my mind. And you, you were like, ha ha ha, if I don't have a gun, I don't talk to that person. And that's so American to think about having a gun. Like I would never think of imagining Joe with a gun.
Jo: You don't know me too well. So i grew up in the middle of North woods. We had more than a few parties in the middle of the woods.
Amelie: Mm-hmm.
Jo: If there's someone while we were partying that came by, will probably do it that, but you know, group in mass. If you're walking around and you see another hunter, sure, I get it.
Jo: Kind of weird, but no one's actually physically following you with truck and then trying to cause menace because that point is not random. Especially a place we've never been before. and an area that you don't actually know after dark, which he didn't have to go there. and like the guys By the way, the guy's going to the the graveyard after dark because he wants the shot.
Jo: It's all douchebag 101. It's basically a Zach Ryan. And then, yeah, if it was me and two other people, you're one of them, and like and one other the person, if I was already out of the, and everyone's out of the fucking truck, whatever, say, that's interesting. You two get in the fucking, that at most, you two get in the fucking vehicle.
Jo: Let me see what this person wants from a fucking distance, at most.
Amelie: Yeah.
Amelie: Mm-hmm.
Jo: But honestly, I don't think I'll be traveling in the middle of fucking woods in the middle nowhere without something on me.
Amelie: Mm-hmm. Yeah.
Jo: Because you're like, oh, I made you have a knife. Like, yeah, a guy with a knife in the middle of fucking woods is still a guy with a fucking knife in the dark.
Amelie: Uh-huh.
Jo: And you don't get to guess, like, what their fucking thing. And this is not going back where you'd rather have a bear or a guy meeting whomever.
Amelie: Yeah.
Jo: It's a matter of you can say hello.
Amelie: Yeah.
Jo: Absolutely. a it just seems some so much fucking trouble, man. Get in the car. Jet. If they were calling out after you for help, let them do that.
Jo: Then you can talk. If they're approaching you and saying something, let them talk. But theyre the guy is like creeping up and trying to fucking hunt them. Then that's no longer a friendly thing.
Jo: It's not even neutral.
Amelie: yeah
Jo: If the guy's like wandering around, then yeah, you can talk to him. The guy's hiding behind fucking trees and shit. No, that's not neutral behavior. That's aggressive behavior. That's hunting predator. My fucking light just went out.
Jo: So yeah, no, I was like, first rule of fight club, fucking safety. If you can't be safe, you don't get to fucking do it.
Jo: And that's like, sorry, took my fucking thing out. And
Amelie: is really interesting to see your point of view, you know. Because since we're beginning the podcast, like for many series, movies, scenarios, scenes, etc.
Amelie: I tend to forget you're an American. And the gun is really inside your culture. Like I was talking to my friend, AJ, who is a vet from Afghanistan and I'm like, oh my God, like going to the army and stuff is like, you know, it's encouraged in America to go to to special places to learn how to shoot with a gun and, you know, In some countryside, people tend to hunt a lot, etc. So the culture of gun in France instance is more for hunting.
Amelie: I know a lot of hunters, you need really special certification to hunt deers, you know, rabbits, this kind of thing. And for me, someone who has a gun is a hunter. And in France, we all have a knife.
Amelie: We do have sometimes pepper spray. And when I was a receptionist, I remember getting pepper spray from Belgium and I had a baseball bat. And when I bought the baseball bat, some people were like, you need to hide your baseball bat when you're in the shopping mall center because I bought it in a shopping mall, in a sports shop, because it's considered as not to like a weapon.
Amelie: And I was like, okay.
Jo: Yeah, baseball bat is a weapon.
Amelie: A baseball bat. A baseball bat, it's a weapon.
Jo: Yeah.
Amelie: Mm-hmm.
Jo: A baseball bat is a weapon.
Jo: I'm more surprised you didn't think a baseball bat would be a weapon. but Maybe that's just American to me. Yeah, maybe so. So, yeah, we had that one, and then there was another one... Oh, man. Like if later on they have a fight in the middle was, of course I do. And in the dark, of course I do.
Jo: And she's like, fuck this. I'm out. I'm like, hell yeah, you go, girl. You get the fuck out of there right now. You don't want to give the car keys. Take a fucking hike. Road's this way.
Jo: Like, no no, wait for the summer. Like, wait, wait for the sun. i'm like, the sun? gets hot out and shit, man.
Amelie: fifty
Jo: I'm gonna go now. Let's cool out. Fuck this shit. Yeah, I get those predators that actually awake during the fucking night.
Amelie: yeah
Jo: But you know what, man? I don't want to be around the toxic asshole either. I'm getting the fuck out.
Amelie: move
Jo: And then you discover something about me. That you would actually look for me. But you said you said you would use a dog.
Jo: And soon as you said that, I'm like, motherfucker, you think i'm gonna leave you with a dog? No, I'm picking a dog with me. I like dogs. It's coming with me. You guys can stay in the fucking middle of woods by yourselves.
Jo: Me and the dog or going this way. So you think that's bad, but you think yelling out to a fucking guy stalking you is good.
Jo: That's my question to you.
Amelie: What do you mean?
Jo: okay You think me saying yes, leave in the middle of night. If you fed up with that fucking, how you know, if you fed up your camp party, just fucking leave. It's not like it's dense forest. It's a goddamn road.
Jo: Just walk up the fucking road. Go back to wherever you just fucking walked to and go to sleep there. And you say, though no, that's bad. You know, is it's nighttime. Wait until daytime. But you at the same time would say like, oh, a guy stalking us in the middle of the woods. Let's call out.
Jo: Maybe he's friendly.
Jo: So how do those two, like, mentalities, you know, equate?
Jo: Oh, the guy's clapping. That's how they equate. Okay. No, really. How do they equate for you? I'm curious.
Jo: Today's part of Streaming Demons where Joe asks questions and nothing else happens. So we'll just...
Amelie: It's.
Jo: We'll fuck off with that one. ah Overall, movie-wise, if you at home have an answer, write as write us. I'll read off in the air next time.
Jo: But it's it's it's a movie. like The acting is good. 3 is shit. I see what they try to do, and they don't really quite pull it off.
Jo: Would I watch this in a theater? No. Was I disappointed in watching this? No. Do I want to watch it again? Not really. Do I want to see something from the same team again? Probably. Because again, the talent's there.
Jo: it just wasn't my cuppa it almost wasn't my cup of tea, man. I think there'd be better movie if they changed... Easy as said, right? If they kept with what we're doing for the first act, second act, and third act continued that trajectory without trying to do something formulaic, I think it would have been brilliant.
Jo: But Act 3 being Act 3, it's just like, I don wanna don't know. Who fucking cares? Is that fair like so assessment?
Jo: All right. If it's a fair assessment, if you're being held hostage, blink twice.
Amelie: which
Jo: Kidding. I guess that's... But is that a fair assessment or no? All
Jo: right. I'm... Getting nothing? All So on behalf of myself and Amelie, we bid you watch it or not. It's ah Anna Carada, 2022, Jeremy Schultz, and Matt Weiser.
Jo: Until next time, we bid you good day. Bye, everyone.
