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13NoH S2N3: Suspiria 2018 with Journey With a Cinephile
27 Plays6 months ago
Night 3 of 13 Nights of Halloween: Suspiria (2018) Tonight, we’re diving into the eerie world of the 2018 *Suspiria* remake, and we’re thrilled to be joined by David from @journeywithacinephile! We’ll be dissecting every unsettling detail, from the atmospheric horror to the bold reimagining of this classic. How does it stack up against the original? Tune in to find out! Want to elevate your viewing experience? Head over to our Instagram for the perfect cocktail pairing recipe to sip on while you watch! 🍸 Plus, we want to hear from YOU! Submit your own review of *Suspiria* and let us know if you’re Team Original or Team Remake. Your thoughts could be featured in an upcoming episode! Don’t miss out—join the discussion and listen in on Zencastr: [https://zencastr.com/?via=theaverage](https://zencastr.com/?via=theaverage) 🎙️ #13NightsOfHalloween #Suspiria2018 #HorrorMovies #RemakesVsOriginals #David @journeywithacinephile #Podcast #HalloweenCountdown #HorrorCommunity #CocktailPairing #FilmReviews #Zencastr
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Transcript
00:00:40
Speaker
um
00:00:52
Speaker
diamond and see
00:01:34
Speaker
um This is Tim. This is Jonathan. And this is The Average. Welcome to Night 3 of our spine-tingling 13 Nights of Halloween series. This season, we're diving into the realm of horror by pitting remakes against their original counterparts to see how they fare in the ultimate battle of frights. Tonight, we're delving into the hauntingly beautiful and deeply unsettling world of the 2018 remake of Suspiria.
00:02:05
Speaker
We're thrilled to be joined by David from the Journey with the Cinephile podcast, whose expertise and passion for horror films will illuminate our discussion. Well, first off, thank you for having me and allowing me to kind of select these this duo of movies here just because it's definitely a couple of them that kind of came late to them, not necessarily this one, but the the original one with a we'll get to at a later time here. But yeah, um outside of that, this has been ah originally started doing like written reviews. And when I started getting into podcasts and realizing that this is kind of things that like people were doing out there, it kind of was one of those things where I'm like, you know what, maybe this is the next step for what I'm doing here. And allowed me to kind of meet great people, including your guys's
00:02:52
Speaker
including you guys here and everything like that. And kind of it also opened up my eyes to a lot of different movies that I necessarily didn't have growing up, too. Yeah. Yeah, I think we actually connected through, ah last night, we had Ricky from the nightclub. And then we we connected through the nightclub's Discord server. But it's just a great community to get to know each other and connect. So I definitely agree with that. Definitely agree.
00:03:21
Speaker
so together will unravel the eerie elegance and psychological depths that is this modern retelling. For a film as haunting the atmospheric as the 2018 remake of Suspiria, we need a cocktail that reflects its rich, complex, and darkly enchanting essence. So keeping in theme with our 13 Nights of Halloween, we have a cocktail pairing for tonight. That cocktail pairing is the Crimson Dance, a cocktail that captures the mystique and elegance for its modern horror masterpiece.
00:03:52
Speaker
Head over to our Instagram to get that recipe and mix it before you watch the movie. And remember, we want you to be a part of this fright fest. Watch along with us, share your thoughts and reviews. We have a handy little link in our Instagram bio. I know Lincoln bio is outdated, but we're still doing it. Where you can submit your scores the exact same way that we do. Whether you're a fan of the originals or prefer the remakes, we want to hear what you think.
00:04:18
Speaker
We'll be tallying up the scores, tagging everyone who submits a review and provides a valid tag to see how these head-to-head scores play out when Halloween rolls past and we're stuck in the gray despair of days until next Halloween.
00:04:34
Speaker
We'll post the winners, the original, or the remake. So dim the lights, grab your cocktail, and prepare to be mesmerized as we explore the dark artistry and chilling narrative of Suspiria. Get ready for an evening of captivating horror that promises to leave you spellbound. So who was the first viewing of this? First time. First time? OK, I thought this was your second. Oh, no, never seen it before. This is the first time for me.
00:05:04
Speaker
This was my third time I had watched it when it came out to the theater. um I have this like great little one that I'm a member at that is actually independent. So they get a lot of like they'll do a lot of like remasters and stuff. And they'll bring a lot of like actual film prints to what they're doing. And then this one, they actually got there and it's an original run. And then I was part of a another podcast series a couple summers ago. And this was one of the selections for that one in the running where they're trying to find like the best horror movies of each year. And that was they're running through the 2010s for that one. And then my wife actually had watched it with me that time. And then she was kind of intrigued because she didn't really know what she had saw the first time around.
00:05:48
Speaker
So then she actually watched this one again with me to see how she kind of felt with it. Okay. Yep. So this was my first time and this was one. So I put Suspiria on this list of remakes versus ah the originals because anybody who is a fan of classic 70s, 80s horror knows Dario Argento, knows Suspiria.
00:06:11
Speaker
I still hadn't seen the movie. I'd seen other Argento films because Suspiria was this lofty thing that everybody talked about as this masterpiece that I was, honestly, I was hesitant to watch it because I was worried it wouldn't live up to the talk. So I put it off and I was like, you know what? I'm gonna put it on 13 Nights of Halloween list and it'll force me to watch it. So I watched this 2018 version And the next day I needed to watch the original. and we'll we'll we'll get we'll get into why that And my wife was the same way, so she watched the original with me. We're both we're both checked in for about three quarters of the film.
00:06:54
Speaker
but then i We both were like, I want to see the original. I want to see where these ideas came from. And we'll dive into more about what I thought as we go. So this film, the 2018 Suspiri, is directed by Luca. I'm going to do my best here. Guadagnino.
00:07:13
Speaker
Guadagnino. I know he's pretty popular. Yeah. yeah ah He's known for visually stunning films like Call Me By Your Name. This reimagining of Dario Argento's 1977 classic takes an ambitious approach. The film features a stellar cast, including Dakota Johnson as Susie Banyan, Tilda Swinton in three roles.
00:07:36
Speaker
Mia Goth as Sarah, and Chloe Grace Moretz as Patricia. The haunting score is composed by Tom York of Radiohead, adding a nice little touch to the film. It is set in Berlin,
00:07:52
Speaker
In 1977, the plot follows young American dancer Susie Banyan who arrives at the prestigious Marcos Dance Academy, an elite but secretive school led by enigmatic Madame Blanc.
00:08:06
Speaker
As Susie rises through the ranks, she befriends fellow dancer Sarah and uncovers the Academy's dark and sinister secrets. Beneath the surface of this renowned institution lies a spoiler alert coven of witches who wield a terrifying power over their students. The narrative unfolds through a series of disturbing events, including the mysterious disappearance of dancer Patricia,
00:08:29
Speaker
who has begun to suspect the true nature of the Academy. As Susie becomes more deeply entangled and with the coven, she experiences visions and undergoes a dramatic transformation. The tension escalates towards a shocking and gruesome climax where the true extent of the witch's power is revealed. So Jonathan, you're going to kick us off. What did you think of the story?
00:08:53
Speaker
Okay. So if you know anything about me by now, you know that I'm not a fan of like dance film stuff, right? So just, you know, you know, I hate grease. You know, because you don't like dirty dancing. We just did dirty dancing.
00:09:06
Speaker
ah yeah So not my thing, but then this, I saw this dude and this was like a whole other beast. Like it, I was kind of blown out, man. Like Oh my god, if things went in a way that I did not expect them to go. At a certain point, it kind of alludes to things. You kind of catch on, but then still at the end, still not what that was going to be. I was like, holy crap crackers, this is awesome.
00:09:32
Speaker
<unk>s like Seriously, like no this i seriously i'm I'm riding high on this sucker dude with a five, man, with combination of it being set as kind of like a ah ah time place kind of thing with but Germany and being post-Cold War. You've got the wall right there. It looks like I'm assuming is the Berlin Wall next to the dance academy. You still got East West Germany. People got a lot of freedom. You can still do this and that over here. Other side, repressed, restricted, can't do much nothing. It's awful.
00:10:00
Speaker
you know and Just like, then you've got your main character, Susie, some Mennonite girl from Ohio coming out of nowhere out here to Europe after her mom dies. And like, as you learn more in the story, like, you know, is there some kind of shame with her? You know, the butter doesn't like her kind of thing, abuse and whatnot. And then just like her eagerness and like getting so jumped up into this academy out of nowhere and trying to prove herself seems like And the crazy cast, of what's going on with the witch coven and just how everything plays out. du I just thought this was super, super cool. I don't know what else to really say, man. This was such, such a good story, in my opinion, with like the intrigue and mystery with like Dr. Kemper, one of Tilda Swinton's roles.
00:10:46
Speaker
you know, trying to investigate what's going on with Patricia since she goes missing, you know, and then you know Sarah kind of being like led on to like giving the hint of what's going on by the doctor and things that Patricia already said. Like, you know, girls going missing and cops getting involved and nothing really happening and wondering what's going on and just wondering how far the story is going to go and what's really going to get down to the nit degree with what's going on. it ah marhar I'm like jumbling my own words, dude. like I really, really liked the story for this one. Super, super rocking. So Tim, shatter all our illusions here. I like hearing your enthusiasm. Yeah. So hanging us down. and Ah, this is hard. This was really hard. Um,
00:11:30
Speaker
I didn't care for at least an hour of this film, and I thought it could have been completely cut from the story and made zero impact on how I felt. It might have made me enjoy this film a little bit more. And you mentioned this specific character that I am thinking of, and that is the character of Kemper.
00:11:51
Speaker
Yes, yes, dude. Holy cow. I feel like it was injected into the film to bring a political awareness of the time that doesn't really elevate the story whatsoever. And in the end, he's brought in to we hear the coven talking about he can be our witness.
00:12:19
Speaker
but it's not even made clear exactly what he is a witness of. And so when that happens, and I'm like, yes, I see him laying there at the feet of the coven at the end. And then the next scene we see him, he's in his bed, missing his wife. And all of that seems exceedingly distracting from the story of Susie and the coven.
00:12:46
Speaker
And I get that Patricia goes to him in the beginning, but Mia Goth's character could have discovered all of these things without him in the film. So we talk about, you know, he kind of hints that there's something going on because he read Patricia's journal and we're, He read Patricia's journal. He thinks something's going weird, something weird is going on. And then he hints that to Nia's character, Sarah. Is that right? Yeah. Yeah, that's right. So he hints to Sarah that there's something going on hidden rooms within the building.
00:13:34
Speaker
And then we get later Mia sitting there, Sarah's sitting there and she hears something and goes outside and counts her footsteps. And we could have gone to that with her just realizing she's hearing something that she can't see. It's, it added literally, so when I was going back and doing the cutting clips to make the episode, it adds 45 minutes to an hour to the storyline.
00:14:04
Speaker
No, okay. It makes sense. Of temper. And it's just padding. His wife, Ankh, was, yes, i I loved it because that's the original actress from Suspiria, but it does nothing more than tug on our heartstrings for a character who's not the driving force of the film.
00:14:30
Speaker
So that is that like, I know I'm getting nit picky, but i'll give you that I started it going like, okay, this opening scene with I'm assuming, cause I didn't really catch if it was super clear. This was my first watch, a psychologist and Patricia. And I'm like, oh, this is going to be interesting. And then the longer I saw Kemper, the less,
00:14:57
Speaker
I realized his story had an impact on what was going on. he He just became an outside perspective and kind of, in a way, he is the most sympathetic character in the film to me. He is the one that I feel for the most. I don't feel for Susie all that much, but I just couldn't help but feel that the Kemper, if we had taken that out and I get, where we're I'm trying to say this nicely. and I feel like his character was completely unnecessary. Completely unnecessary to the way the story unfolded. And while I am okay with some of the sentiments that it brought, I'm not sure it added any value to the story in the end. ah Specifically the final scene where
00:15:52
Speaker
Susie sits on his bed and tells him about his wife. And yeah, that pulled at my heartstrings, but what's it have to do with anything? You know, so that that's my problem. That is where I came in and I was like, okay, this is based on Daria Argento script.
00:16:16
Speaker
which Dario Gento's script was based on a short writing from an English poet, I believe. so And that wasn't exactly anything from what I was able to research. It's not exactly the story. He just kind of took the idea of the three mothers from that. and ah So this is a direct story copy of Dario Argento. So there I took that into like, okay, it's not super original because it is a copy of that original story. And then I did not care for some of that extra padding. So while I think Susie's story is the main draw here, if we have a two and a half hour film with 45 minutes that really doesn't matter,
00:17:09
Speaker
I have to question the story a little bit. so this is they I feel bad starting off this negatively, but i don't there are some high praise in this there is some high praise in this film. The story is one of the couple spots in this that I really struggled giving it a good score. um Unfortunately for me, I thought the story was just okay.
00:17:34
Speaker
I gave it a two, so I feel, i I hate being a bummer, man, but the story really, bro man, when I went back and I was cutting those clips again, I was like, I really don't care for Kemper even more after seeing the way everything pulls up, seeing the way everything unfolds, I care for him even less on my rewatch. So that that's where I landed, unfortunately. So David, love to hear what you think of the film. No, but you bring up good points though, cause like When at the end of it this time around, I kind of come to the conclusion that I feel like Kemper thinks is just kind of a like a bookend to everything because it starts with him, with Patricia coming and talking to him. And then it ends with Susie coming to him, making him forget everything that's happened with like the covenant and everything like that. And then we just get the thing that he, you know, sold the summer house now that he's finally given up everything like that.
00:18:32
Speaker
I'm with you though where it does feel like that's literally what they introduce it early for is to just kind of have like that two things because especially with how it starts off being like this is a six act story with an epilogue to tell everything that you're doing here because I mean I actually came in closer to like a higher score for this one there are still story elements that I still have questions about because like you are right this is retelling Dario Argento's version of this story. But you're just adding this other thing. For me, what I really love about this one is like giving us the Coven's hierarchy, where you see that half of that or less, just less than half of them want to follow Blanc, but they're still
00:19:16
Speaker
this majority that are clinging to Helen and Marcos just because they believe that she is like Mother Suspiria and that she has been either she's incarnate of her or that she's been ordained to be this one of these three mothers.
00:19:31
Speaker
which I do love how at the end of this when everything and they come to like that whole ritual and everything at the end where it's like, oh no, you do not actually have what you think you do. And you've been doing all this stuff. You've been sacrificing these girls before it's too early or before they're ready to do all this stuff and ruin and everything like that. So I just love that he actually developed different elements of the story for this one and flesh that out. So I ended up coming in with a four for my score on this one.
00:19:57
Speaker
that's That's totally fair. i do Now that you point that out, the hierarchy is much clearer in this film. And it's a mythology that I am curious about, right even if you know I didn't care for other elements of it. I was definitely curious about these three mothers. And it actually made me want to go back and watch the Daria Argento trilogy.
00:20:19
Speaker
yeah but I've heard the third one is just awful. Yeah, the third one's rough. That one, Inferno is wild. I will say that. Inferno is a fun ride. Okay. Yeah. All right. We're a little divided. That's okay. Moving on, Jonathan, how do you feel about the character in this film?
00:20:43
Speaker
Okay, so when it comes to character, there' man like I said, this was such a big punch, because it I thought I knew what was going to happen, where it was going, and it wasn't. It kind of sort of, but and like really wasn't in this big, huge way. um With Susie, this whole image of her being this small Mennonite girl from Ohio, um escaping Mennonite Amish life,
00:21:09
Speaker
which I want to point out, I don't know if you felt the same way at all. Did Ohio in 1977 look like Ohio in 1945 to anybody else? It looked depression-like. like It definitely looked like the Depression. I lived in Ohio, and i on my way to my wife's like parents' house, we go like near a Mennonite community, and i have I don't believe it's built up that much in the last, what, 50 years that it would not look like the Depression. like yeah Yeah, I caught that on rewatch. I was like, man, this feels like Ohio in 1945, but John. No, no, great point. Great point. But just like this girl who like you you see in certain ah parts of the movie where, you know, as a child, she sees a map and picks a point, Berlin and decides what's to go there. This whole idea of having like snuck, like run away to go see Madame Blanc perform.
00:22:06
Speaker
you know, three times and getting in so much trouble for it and always being this problem child and then, you know, her mother dying and her escaping that whole life to pursue something different and getting there and like being kind of fearful, but hoping to be accepted and hoping to earn this spot and prove that she can do something different despite, you know, how she was treated by her mother.
00:22:30
Speaker
Um, everything in kind of untamed was after that with the whole idea of witches and the breakdown of Olga and the slight idea, the idea in a slight paranoia building in Sarah and trying to build off each other from all of that. Like.
00:22:46
Speaker
Susie was so crazy because as the movie progresses on and on, you know, she she gets so swept up so quick and she seems so eager to prove herself to Madame Blanc and Madame Blanc being just so kind of like enthralled with her like she can't help herself. So so drawn together and finding the sense of acceptance and then you think that there's this growth going on and then she's getting these gifts for Madame Blanc and all this stuff and then finding out or then it turning into later on seeming like everyone in the, in the coven is like going crazy, ha ha ha ha. But the intensity between her and Madam and block, even from across the table at a restaurant and that one scene, I feel like in yeah like act six or something, um yeah man, it seems like she finally knows what it is after having like, you seen them, that scene with that telepathic conversation. It's like, Oh crap. She knows she's, keying she's keyed into what's happening with this coven. And it seems like she wants to be able to be part of it only then to find out that she is the incarnation of mother Suspirion.
00:23:45
Speaker
and like just totally blew my mind. I was not expecting that. I was thinking that joe she was just going to like, as her coming into this covenant, thinking that she's going to somehow find a spot in there and be powerful and like take over in like Madam block, you know, kick mother Marcos out and all that shit. But no, no, what a twist, you know, like holy crap Totally by my mind. So that whole art from being like this little nothing, nobody trying to build it, find some fame and be something awesome. And then fering finding out that she is like the one of the three mothers just was so crazy.
00:24:17
Speaker
that I gave that such a hard five in the arc, dude. So hard, like super rocking. Although with Kemper though, Kemper though, I got to give him his due a little bit as a character for his sense of arc. You are right. Definitely was not necessary. All that country house stuff, the travel. yeah He could have been just a small minor part character with like,
00:24:40
Speaker
an eighth of the time that he had on screen, basically. but Was it a beautiful story? Yes. Yes. Kemper's story is beautiful. I'm not sure what it has to do with this movie. Right. Yeah. But him finally getting that sense of being able to let go of his pain and his feelings about not ever finding his wife and then being concerned and trying to help Patricia, but then realizing how crazy shit is and trying to get rid of the evidence from Patricia's bags and stuff that was left in his home.
00:25:07
Speaker
You know, I'm just trying to cover up any connection because if you're supposed to connect with the ah RAF, Germany and the all that stuff going on with the heist that was going on with the Lufthansa flight. Yeah. Now, all that means a huge news piece at the time for that country. You know, and then him, like I said, all that very minor could have done without, but still was kind of cool. So I just wanted to point out that he had a small bit of arc to and finally getting that sense of peace at the end, despite the horrors that he unknowingly witnessed, you know. Yeah.
00:25:35
Speaker
He did. He did have a small arc. I actually really liked Sarah's arc as well. from being this kind of just, she's all in, kind of taking in everything for how she sees it and then slowly opening her eyes that there might be something going on underneath and then the tragedy that hits her. I liked that. I felt the opposite way you did about Susie. I felt cheated. I felt cheated. So this whole time on second watch I'm looking for a moment
00:26:11
Speaker
when she becomes Mother Cispheria. You know, I'm watching for like this whole movie. My first watch, i I am expecting that they are, they keep talking about her building her up as if they are going to do some ceremony, some ritual that will turn her into Mother Suspiria or Mother Marcos, you know? they They will turn her into one of those beings. So then when we get to this ceremony, the moment that I felt cheated on the entire film is when she's like, oh, I'm Mother Suspiria.
00:26:50
Speaker
And I'm like, what the? No, I win. When? I would say it's when Mother Marcos tries to chop and kill Madame Blanc sacrifice happens because I didn't unleash that incarnation in her. I don't know. I'm assuming.
00:27:07
Speaker
um and So after I got online and I was like, okay, who can explain what happened? And all I saw was a bunch of theories. you know There are some who say that she was born Mother Suspiria and that her drawing those lines to Germany was the mother guiding her to her eventual fate.
00:27:27
Speaker
you know I felt cheated because I didn't get those clearer clues throughout. I didn't feel it building to like, oh, that makes sense why she's so powerful.
00:27:44
Speaker
yeah i i'd I'd be fine with it if that's where it was going. In the end, I feel like it was done just to subvert the expectations of people who see all the original.
00:27:58
Speaker
which I don't want to talk too much about the original. I'm trying to give this one its own merit. Don't ruin it for me, Tim. I won't, but I felt cheated by the end of this movie. And I think that's where much of my bitterness goes to is that I'm fine with Dakota Johnson becoming Mother Suspiria at the end.
00:28:19
Speaker
I didn't see that unfold on screen. I saw the coven preparing her for something. And then turns out she's more powerful than all of them exploding heads. poof
00:28:35
Speaker
So for me, the arc was incredibly underwhelming. I don't think The goal was bad. I think the journey was lacking for me. So, like I said, when I watched it again, I'm looking for these moments and it became a little more clearer where, is it, it's not Marcos.
00:29:04
Speaker
Tilda Swinton's character, is it Marcos? No, no, no, no. No, Marcos is the deformed. Yeah. Old hat bag. Nasty looking. Madam. Yeah. Jabba Baba.
00:29:17
Speaker
Bottom block. Yes. ah where she says she's feeding her their dreams. And so I can see and can see a little bit of how they're feeding into her and how she slowly gets there. It's it's just a little bit like, I would have liked to see her come into her own maybe a little bit before that scene yeah and demonstrate some power somehow. Because even in that climactic dance ceremony,
00:29:51
Speaker
like I was expecting that was when she was like imbued with the power that because that dance has a very ritualistic feel to it. So I was thinking okay maybe this is when she came into her power but even on second watch it doesn't it's not clear because she's still not sure what happened to Sarah. So it's it's like you said it is the second Till this one's head gets had like three quarters chopped off. Yeah. but All of a sudden she's powerful. So there's there's just some dots that weren't connected for me. ah i did I did think
00:30:31
Speaker
I didn't add this into my score because I think he was a wasted character, but I did think the doctor's story was good. I thought his arc was good. and In a different movie, I might have teared up at the end about hearing hearing about his wife. I might have shed a tear for that story. I was like, why are we still watching this guy?
00:30:51
Speaker
and then ah i I actually, Sarah was my favorite character in this film. I don't always like Mia Goth, but i I actually think this is one of her best performances. but Have you seen those three films that she she did? That that X series? I can't wait for the vaccine. Yeah. um what i can't I haven't seen any of them yet, but they look pretty hardcore. X was
00:31:15
Speaker
It's slasher porn. Oh really? like It's well equal parts softcore porn and then slasher. like it's It's fun. it's It's good. I like Ty West's eye. He has an eye for staging scenes. He's very good at that.
00:31:36
Speaker
Pearl is Wizard of Oz with murder and it's it's something different. It's unique in a good way. But I'm very curious to where Maxine is going. So well, so me got some crazy stuff, man. and yeah I definitely need to get caught up, I guess, and maybe watch this. Where is she from? I have no idea. I think she's British. I think i've look this up. I think she's from I think she's British.
00:32:01
Speaker
Okay, because the Ty West films had me going, is she like that Southern accent is brave. And then this one, I was like, that's a British accent at points. And where's this girl from? I did not like infinity pool. Not for me. That one's weird too. That's yeahp yeah. It's a bizarre film. It is. empty So David, oh, I didn't get my final score. Um,
00:32:24
Speaker
Again, I'm a three on the character arc. yeah I can see it, but I needed I needed more to relate to it. I'm actually with you on this one in that it feels like in the beginning that Susie is going to be like our main character, and she's very important to the ending. But I almost feel like this movie, I don't know if it's each of like the chapters that kind of switch where we're kind of following with it. But like,
00:32:52
Speaker
to me she I love that she comes there and she's all meek and she's very just kind of like nervous wants to make it wants to make sure that she gets into this academy and then just show shock that she becomes like dancing in the lead so quickly and everything like that and then she kind of gets like a bit of like an arrogance about her and then she kind of just shifts away from her for like where she almost becomes like a secondary character where we start to follow other people. So like I end up for my score and to kind of getting raised just because of how we kind of shift that focus where I do agree like Mia Goth, I think it is my favorite character outside of like just Tilda Swinton killing, you know, three different characters in this with how
00:33:30
Speaker
great she can kind of perform all of them but like when we start following Mia Goth as Sarah where she like you said is like no like there this isn't what's happening like I'm done like I'm gonna go back like it's fine whatever and then she ended up just seeing little things or she's like wait a minute that that that's not adding up and then finds like there is this whole secret building underneath what they have like this whole catacombs thing So for me, I ended up coming in with a five just because there's so many different characters that have interesting arcs that I was like, you know what? I'm going to go ahead and just kind of give credit to everybody that kind of has this type of thing. And I mean, I also have read and I do believe I kind of go under the thing that Susie has been Mother Suspiria since the beginning.
00:34:13
Speaker
but I do think it's when they actually try to kill Blanc that it really just kind of fully awakens everything as she kind of went down there. And the other thing I was gonna say too with like the dances, I almost feel like all of them are rituals of sorts because every time they actually show a more extended scene, somebody gets hurt and somebody just gets like attacked and everything like that. And I just love how they incorporate that into the story where it's like, she's so powerful even when she's doing an audition that it's like hurting Olga for,
00:34:42
Speaker
yes against the teachers and everything so i do love that aspect of it as well i was gonna say do we wanna bring up the old dancing wow oh we gotta wait for that we gotta wait for that okay we gotta wait for that cuz that scene. That scene was the moment that i was like hu i was checked in i was. checked out by But I will say, I agree with David. I think you're right. I think maybe she was Mother Suspiriorum from the beginning, just wasn't able to fully express. Right. But I've looked at the Wiki and it seems like maybe at the point when Suzy renounces her, I guess Suzy's mother wasn't dead yet, it was on her deathbed. When she renounces her mother, that's when it fully sets off. She renounces her mother and then Marcos chopped.
00:35:26
Speaker
And then, boom, then it all sets off. I completely forgot about that. I think, yeah, that makes sense. I think that's what it is, is what they're saying here. I forgot about that because the connection with her mother wasn't established as being that strong to begin with. Right. So, oh, sorry. We got some flashbacks of rural Ohio circa 19. But yes, that does make sense in the way the ending unfolds because i I remember the Marcos sitting there, renounce renounce your real mother. yeah So onto the music and sound design. So this one, we're actually mostly in agreement on this one, but John, then go ahead. So I was surprised to find out that Tom York was the one who did the the composing for this film. yeah First time.
00:36:19
Speaker
I'm probably gonna get a lot of hate for this, like so much hate, but I'm not a Radiohead fan, not really a Tommy York fan. A lot of my buddies I grew up with, they are so all about some Radiohead, but just you know it was too down-toned in the wrong way for me. you know yeah I give c credit, there's some cool songs, whatever, good writing, but just it didn't work for me. yeah But this,
00:36:43
Speaker
Holy crap, dude, this is pretty epic. So if this is his first time composing for a soundtrack, dude knocked it out of the water, yeah in my opinion. like The music really accented everything that was going on with the dance and the the the the fierceness of movement and transitions between scenes and everything. It all came together really, really well and had such a nice blend that I'm i'm kicking in on a four.
00:37:11
Speaker
So I think that's pretty solid place to be. I mean, even with some of the stuff with the sound design, sounds of the farm, traveling in you know that part of Berlin and everything, everything just still had a nice kind of presitude presence versus the small parts of silence where it's really quiet and you don't have much going on, yes yeah especially in those moments of discovery that you see in different parts of the film. you know ah Yeah, mean i was I was on the verge of going five with it. I was like so close, but I don't want to push that stuff. I push that stuff much because it's Tom York, but I still get a heck of a lot of credit. And yeah, four. i I'm kind of glad you didn't go five because I wouldn't know how to respond. because i always say that like five is that iconic sound five is jaws five is psycho five is star wars you know the sound you can recognize i'd i can't recognize any of the songs that were in this movie but none of them were distracting they didn't take me out of the moment they weren't like oh that's a poor choice i thought they fit
00:38:23
Speaker
the scenes quite well. And for the first time composing, he did an excellent job where I was especially impressed with the sound design. The that dancing sounds visceral, like their feet hitting that floor. And I don't know how many people are aware that dance floors are usually kind of cushy and they make that ladder almost like gymnastics floors.
00:38:52
Speaker
So that's why we get that sound from it. But it sounds so good. And just some of the way he this could also go in a direction, but it was clearly a sound choice of having audio overlay a scene that it was not filmed. So we have a conversation of the coven talking about Susie, but we're watching the coven like out to dinner.
00:39:22
Speaker
And so it's a separate conversation from a different time overlaying something else that we are seeing. I thought that was really unique. That was really different. And i I appreciated that element of it. I thought that was very clever. I thought that was different. The music didn't really do much for me, but the sound design was enough that I gave it a four.
00:39:46
Speaker
kick ass. um Yeah, I'm actually coming in, it and I think a little bit lower, but that's not necessarily like a knock on anything here. I think that the music, for me, a lot of times I don't notice a score unless it's, like you said, more of an iconic one. But if it doesn't take me out of it, I'm usually like, okay, that's that's all I'm asking for, like fit the atmosphere, don't don't jar me with something unless it's going to just like knock me like like out of my chair. But yeah The sound design is what I really love about it. Like you guys have been saying is like the dancing stuff is it feels like we're actually watching these people do this dance and everything like that. And another thing too with the sound design, I also love another scene that was great is when the coven is voting, but we're not actually seeing them like around a table or like actually doing something. We're literally watching these people just like, Oh, this people are reading a magazine. These people are like preparing a meal. These people doing their own little things. But you know that some point they were like,
00:40:41
Speaker
sitting down and talking about this and actually like listening back and forth to each other, but I love how you can overlay this sound and to see them doing the most mundane things as they're passing their time to go about the day. So my score ended up being a three, but I don't necessarily mean that as like a knock on anything here. It just, it fits and it works for what they needed. Yeah. ah You bring up a scene that reminds me of a character that I have questions about. So I'm going to go back and I'm going to ask that question.
00:41:08
Speaker
um Anytime we see the coven, there is the one character who never speaks with glasses, yeahp who kills herself. yeah What's that about?
00:41:23
Speaker
This is literally a question we both had, like my wife and I at the end of watching it this time around, I thought I read somewhere that she was like the meekest of all the witches. And so every time a dance is happening and that person's being hurt, it wears on her more than any of the other ones. And she finally kills herself is what I'm taking it as, where she just couldn't handle it anymore, like feeling their pain and knowing what they're going through.
00:41:49
Speaker
but why don't we give a little bit more of this character if we're gonna have this just epic scene out of nowhere where she just stabs herself in the neck? And yes, and we get those, I see we get those moments of focusing on her after significant events, but it's not portrayed very clearly. Like you had to read into that a little bit. right I think that's a great idea.
00:42:18
Speaker
I would have loved to see it like, even if it's the ever so melodramatic of like, ah, you know, give me something. Or I mean, you could even do something like when they're like having the cops and they're like making like them do like embarrassing things while they're under like a trance, have her like leave the room because it bothers her or have her like just being bothered where there's little things. I mean, yeah, or you could do what you said, or you could easily do like a little dialogue where it's like,
00:42:46
Speaker
ah There's something up like we don't know if she's been able to handle this type of stuff anymore. And then I'm like, all right, and then just throw away line. Yeah, because ultimately, that was another character that I forgot about in the characters. ah She gets lost in the shuffle real easy. Yeah, yes. But we get a really like her stabbing herself in the neck is a visceral moment in the story.
00:43:10
Speaker
But in the end, I was like, what did who was she? in her So, okay, that answers that answers my question on that. Before we jump into the next category, I want to tell you a little bit about Zemcaster. When I was preparing for our 13 Nights of Halloween series, I was really searching for a way to streamline the process.
00:43:32
Speaker
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Speaker
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Speaker
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00:44:35
Speaker
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00:44:55
Speaker
I want you to have the same easy experiences I do for all of my podcasting and content needs. It's time to share your story. So let's dive in to the next category.
00:45:08
Speaker
So then diving in to editing and special effects. Oh guys. Yeah. Yeah. Yeah. Yeah. So this is just segue from our our unknown, which of the coven who lost herself.
00:45:27
Speaker
So special effects, man, that knife, it looked like just a butter knife, and she just really just jams it in there and goes back for seconds. And the spurt, ah hint the spurt, oh, the PSI that just came, oh, dude, she's sitting right in that right spot, man. That looked fantastic. I was just like, oh, real.
00:45:53
Speaker
i mean one and That's just one of many of those visceral scenes that you're talking about. Because like even when the very first one that really gets you with Olga and the dance in the glass room, they're so intense.
00:46:08
Speaker
yeah gos Just the way you see the shift, the broken ribs from a twist, the distending of the jaw when she's against the glass,
00:46:20
Speaker
Oh man, some of that dude, man, that stuff got me. Once I saw that and I was like, whoa, we are in it now. Oh yeah, I smell what you're stepping in. Let's get with it. you know That scene is hard to watch. It was.
00:46:35
Speaker
oh but it was still so, so, so intense. Like, man, I was worried about it being such a long film. It was like, you know, when you told me like the original was only like an hour and a half, I was like, what the? You know? Because the original didn't have Dr. What's-his-face in it. Yeah, Dr. Camper, yeah. A little add-on there.
00:46:54
Speaker
But man, there was so much cool stuff. But I will say, when there's when you see that presence of the witch magic going on, your will little shifty brush light kind of things, I wasn't really digging that as an effect. I'm glad you brought that up because I didn't even when death it yeah shows up.
00:47:15
Speaker
Is that what that character was, that that creature was? I wasn't really certain if that was like a summoned spirit by Mother Spiritiorum, or if that was like another, like, old, bratty corpse they should just summon from Vowels. I wasn't really sure. When I've had one crime, and we get that x-ray thing on the side, it said that was death. Oh, OK. All right, cool. I like that that. Amazon does that. It's good to know sometimes. A little clues for you. Thanks, Amazon, right? I'm not going to pause the movie every scene change, but I'm tempted sometimes.
00:47:46
Speaker
for sure. So editing, yeah, you could have ended it up about the 40, 45 minutes that Dr. Kemper stuff, you know, whatever, all his little backstories and side shenanigans. But um I like a lot of the transitions and some of the swiftness of the movement that we had going through certain scenes, especially with that enhancement of the music going on. um I think that really gave even though it was a long film,
00:48:09
Speaker
it gave it a lot of driving force in certain parts versus the slowness of seeing Dr. Kepperer kind of tittle along doing whatever. like You know, you had that, kind you had some weird odd contrast between, you you know, fast movement and then that slowness. yeah Yeah, the contrast is an interesting point.
00:48:27
Speaker
um But overall, man, I gave it a four just because there was so much going on between, you know, Mother Marcos, death and everything else that was going on with the girls, especially towards the end. I don't want to take up all the time on it. So I'm, you know, Tim, you get it, you say your piece, man, you can you can add to that however you like. Okay. um So this movie, this movie rubbed me wrong in the opening scene for editing.
00:48:56
Speaker
yeah in the opening scene with Chloe Moretz as Patricia, it is six minutes long and contains, because I decided to count it on second watch, at least 140 cuts in six minutes. That's, if I did my math correct, that's somewhere close to one cut every two and a half seconds.
00:49:26
Speaker
for the opening scene. Okay, yeah. There was, it was, and I get kind of the directorial choice of like she's kind of frantic, yeah so the camera is cutting frantically, but it bothered me when we would have two angles on the same thing and sometimes in mid-sentence cut to like, oh,
00:49:54
Speaker
that much different. It wasn't a significant difference. so yeah And sometimes we cut to an inanimate object. And I'm fine with all of that. It was too much too fast to start off the film. it's one ah you know Jonathan, we've been doing this for a while and I hate fast cuts. I like those long takes. I like long shots that I feel,
00:50:22
Speaker
where I get these quick takes showing us like, oh, the coffee table in the corner of the room. I'm like, okay, I get it. But the long take can still show you the coffee table in the room in relation to the acting going on. That opening scene bothered me a lot. It does calm down after that. It does calm down. There's not as many, but i it was enough that on my first watch I was like,
00:50:49
Speaker
when I clip scenes for this, I'm going to count how many times it cuts. oh god i did And it's 140 times in six minutes, which is, and there are some of them that are so fast, I might've missed one, but that aside, like you said, the stabbing in the neck, amazing. The dance contortionist breaking herself,
00:51:16
Speaker
I was uncomfortable. There are two types of effective horror. One of those is fun and one of those is disturbing. If you're not one of those two things, you're worthless. That was disturbing. Like her getting thrown apart and twisted disturbed me. I was uncomfortable watching that. It was effective, which makes it all the more disappointing when we get to the final act and we have CGI blood spewing under a red filter.
00:51:47
Speaker
that scene was so upsetting because it's like a heavy metal music video from the 90s. It's even got like the slowed down graininess to it and the yeah that scene fell apart for me in a way that was so dissatisfying It left a bad taste in my mouth, and it was all the choice in how they did it. even The second Tilda Swinton's head goes three quarters of the way off, and it's just CGI blood spewing everywhere, I was disappointed. Was that CGI? I thought that was like the effect. like I think it was a mix. I think it was a mix, but yeah like there was more natural splatter to some of that, I wasn't really sure. did there was some
00:52:33
Speaker
It was just, once those heads started exploding later, I was like, cool idea. It's CGI and that ruins it for me. It hurts me inside because the rest of it was very good. I mean, that Olga getting contorted into a mess is one of the most uncomfortable scenes I've seen. It's fantastic. And then I felt like the ending,
00:53:02
Speaker
went for shock value versus that visceral feeling of Olga. I would have almost had something more visceral and less gratuitous in that final act. So I docked it a little bit for bringing in the CGI blood spurts, just the the quick cuts. um I didn't dock it too hard for that, but it did bother me.
00:53:29
Speaker
um the CGI bothered me far more. But the ah the red filter at the end, and I get, there are moments, so I try not to compare it to the original, but there are moments that it's like, hey, we're remaking an Argento film. And so the red filter, I thought was kind of an homage to like, hey, remember,
00:53:56
Speaker
the original, like we're gonna cover everything in a color. And then there are moments also with Tilda Swinton's character where we get purple lights on her during dream sequences, which I thought I worked for the dream sequences. So I gave it a three, I'm being critical. I gave it a three because there were some excellent scenes. And then I thought the end just devolved into shock value over quality.
00:54:27
Speaker
So yeah, I don't know how to compare that ending. I have the same kind of bleak ending as Hereditary, yeah where it's not a happy ending, but Hereditary, I thought, earned that ending. This one, I didn't think earned it as much. And Hereditary is just a masterclass on just fucking you up. And this one, I thought it it went a little too shocked for me, but I did give it a three. I thought it was good overall, so. Yeah, I'm actually coming in right in the middle of your guys' scores here where it's...
00:55:05
Speaker
i I always forget about it. I don't know if it's just I black it out or not, but that opening sequence is so like frantic, which I agree is that you can i mean cut that many cuts in half and still get the same exact thing and still present that that she is so manic and that she's like freaking out. He's trying to calm her down. and Set in the stage for everything and whatnot, but I am glad that it kind of settles in I think for me as well I always kind of contribute editing to like the pacing of the film as well where I do think that I mean I didn't even realize that the Kemper stuff was 45 minutes and that would literally get it down to almost the exact runtime of what the original one is and So I think that if you kind of trim some of that down, get it down to like even like two hours, I think this just runs smoother with a lot of the stuff that we're keeping in there. And I mean, it is a bummer because I did notice some of the CGI in that final scene just because you built up so much goodwill before that with everything going so practical.
00:56:02
Speaker
and everything being so visceral that that I end ended up coming in with a four just because of, I think there's just a few things you can tweak here and there. And then you've got something that just runs, I mean, um like even closer to being perfect. Yeah. The mother Marcos herself and looks fantastically disturbing. with Yeah. like go baby That baby you hand on her arm. and That was messing me up. She's got some weird angles and bangles off her feet.
00:56:31
Speaker
Who knows what? That's still the sweat and the makeup. That's amazing. That's amazing. i glad you know You know how as you said though, you weren't sure how to compare it to with like the ending, the gratuitousness and all that. Yeah. You were seeing the Lords of Salem. Rob's on it. Yep. I have not. Checked out the ending. There's actually, when I think about it, there's some similarities kind of in concept between the Lords of Salem versus this, right David? Yeah, that's true.
00:56:56
Speaker
And once you see the ending of that film, then I think that would give you some comparison to this one. The end of that movie is batshit. And that movie is absolutely batshit crazy.
00:57:09
Speaker
i think no vi my god I think the visuals at the end of this movie are fantastic. and Even yeah like on second watch, death with the hands creeping across the floor looks so good. I don't get it. Why is he like so creeping and then suddenly standing? Okay, but it looks so good.
00:57:35
Speaker
And then death himself or herself, because I think it's actually played by a female, ah looks fantastic. yeah one ah It's one of the better representations of death on screen. ah Yeah, the the ending, even I don't so much mind the red, it was when everything started getting blurry and fuzzy that I was like, we okay. Just going around popping heads left and right. So the script then,
00:58:04
Speaker
Wow. Yeah. Okay. So there's a lot of dead spots when it comes to dialogue, but that's okay because, you know, it's, I believe it's for effect, but there are some lines in this movie though that you you don't quite expect. I don't think, um, like when Susie is talking with Madame Blanc in her room, I think this is like right after she tried to to do the dance and Olga got twisted up and then all self pretzel. Um,
00:58:33
Speaker
She was asking her about what she felt, right? And Susie says, it felt like what I think it must feel like to fuck. Yeah. I was like, wow, I was not expecting that out of this this Mennonite girl. Like, what? It kind of like really threw me off when I first heard that. yeah yeah know it And then some of the following discussions they have throughout the film, you know, just it's pretty interesting. Some of it it seems kind of inane, you know, in small parts when the girls are hanging out running around, you know, even some of the discussions that with like the witches in their little like teachers lounge kind of part of the Academy, you know, while they're still discussing like which work and what.
00:59:13
Speaker
There was just so many different things, but then there was Dr. Kemper. He had a couple of lines that I think really stood out for me. um He's talking to the police about Patricia going missing and trying to see what's going on. And they're like, well, you know, you know it's just a you know bunch of dancers and whatever, whatever. They're just kind of brushing it off. But he says, they are professional performers. Illusion is their craft.
00:59:37
Speaker
you know, which kind of is like, you know, more context, because it's kind of allude to them being witches and whatnot, even though they don't understand that, you know, and then they were talking about, you know, feelings and stuff. And he says, love and manipulation share the same house. And that's kind of like a deep thought, because people use love to manipulate people. And then people just keep people out of love. And it's like a twisted kind of thing that goes on there.
01:00:05
Speaker
And you kind of think about that in the ways of like how the witches work, you know, they're twisted, even though they have their love, you know, for the common each other. And then, you know, Madam block and likes being so enamored in this way with Susie, you know, it it was really crazy, man. And then let's see, I think there's like one other. Yeah, like towards the end, like Susie was like, why is everyone so ready to think the worst is over?
01:00:27
Speaker
Yes, yeah that that one stood out to me. You know, there was a lot of lines in there that I think had a lot of impact. And man, I just I really liked the the way they set that up. Despite some of the small dead parts of it. I think I think I give it a four. I think that's a pretty great assessment, you know, for score.
01:00:47
Speaker
Okay. i You raised some good points. There are some good good little lines in here. yeah um The script is not really one of the spots that I thought was a big weakness.
01:00:59
Speaker
um I do think there are some great even like Madame Blanc says movement is never mute. It is a language. It's a series of shapes written in the air. Like it's kind of poetic. There's a nice flow to it in the way this film was written. I'm trying to remember because I didn't write this down, but on second watch it stood out to me. um When the witches trick Kemper
01:01:31
Speaker
into coming close to the building. And they say, it's probably my favorite line of the movie because it's just so malicious.
01:01:42
Speaker
um They yell at him when a woman comes to you and claims to see these things. I'm bastardizing it terribly. ah When a woman comes to you and claims to see these things, you tell her she's delusional. You don't believe her.
01:02:02
Speaker
And that line, I was like, man, these women are nasty. This coven is nasty. yeah And I think that line is so good. But yeah, ah you raised some good points. um There are a lot of dead spots. Like, I don't know why we spent so much time focusing on her jumping. When Like i I, the first time watching it, I'm thinking this is going to be part of the ritual at the end. I'm thinking it's significant because we spend so much time, you have to jump, you have to jump, you have to jump. right And then it ends up being nothing. So there there were these moments that I was like, why was this so heavily emphasized in the script? Because you have these fantastic lines sprinkled in. yeah We don't need the scenes with the jumping at all.
01:02:58
Speaker
there's There's no amount of belief or physical prowess that she needs to become Mother Sisperiorum in the end, so they don't really serve that purpose. So that makes it, and I'm thinking out loud as I say this, like it's just coming to me. But because there are some great lines, Kemper has a lot of great lines, but I gave it a three. I thought the script was good. It had some really good lines and then just moments and I'm like,
01:03:29
Speaker
What is this? yeah You know, so, and I think most of that is my problems with the story. I think if it all funneled to the conclusion a little better, I would feel better about the script. Yeah, I mean, kind of agreeing with a lot. There's some just great lines and there's some of them that are just so vicious sometimes where you don't necessarily expect a character to say that to somebody, especially like the I mean calling out Kemper to be like they're just kind of the also paraphrasing it is being like if they're delusional they come to you and you don't believe them like that is just parallel so many things that happen like even today.
01:04:11
Speaker
And yeah I mean, and then there's also just some of the other ones where I think actually one of the things I like a lot is the dialogue that kind of gets keeps going back and forth where the witches who side with Marcos are like, she needs Susie now like Susie, like she has to have her and they almost just use the idea that the only thing I can think with the jumping thing is that she doesn't want to because she keeps riding around on the floor because Marcos is in that like closet underneath her and they can kind of feel each other through the floor.
01:04:41
Speaker
But I mean, you don't necessarily need that much of the jumping stuff to establish that, I mean, you really just need to have them arguing like they get after the fact where it's like, you need to jump. And she's like, just have her be like, but wouldn't it be more of just me kind of doing this thing on the ground where I'm like, and she explains herself and it's like, okay, that's all you need. Like, we don't need to sit there and watch all this stuff to play out anymore.
01:05:06
Speaker
And there's just some for me, just some things in the script that I am with a story that just doesn't get fleshed out. So that's what kind of held me back from giving it like a higher score, just because I think even just a little line here and there or just show us something to just a little bit more, I think everything just comes together a little bit better because there aren't a lot of questions that people have at the end of it where you kind of go off and you might do research. And I'm not always a big fan if I have to go off and do research after a movie, unless there's like,
01:05:34
Speaker
mythology that doesn't necessarily need to be used, but just deepens your enjoyment. It's what I'm left with questions that I kind of have issues. So I had to come in with a four as my score on this one as well. Yeah. Right on, right on, right on. I might be tempted to change my score higher because as we were talking, I was thinking some of my favorite moments in the film were actually shared between Sarah and Susie.
01:06:02
Speaker
i I think the script does a really good job of establishing an intimacy between the two. that's It's not romantic, but it's definitely like they care about each other. There's this sisterly development that I'm like, you know what? that They did a really good job of establishing that in the film. I do appreciate that.
01:06:25
Speaker
yeah They actually did dig pretty good with that sense of closeness because like when she gets in bed with her after Susie has that nightmare, she's like, oh, I've never slept in bed with another person except my sister. It's like, well, we're sisters now. yeah yeah you know Just to get to help reassure her and give her that sense of comfort, you know which is pretty cool. I think there's something beautiful about that, honestly. so I'm tempted. I might go three and a half. Habsies. I'll go three and a half. All right. so The acting on this,
01:06:57
Speaker
Acting, ah yeah, so there is just, I mean. When he comes to acting, dude, like Olga, man, she was deep on that. She was deep in that pain. Yeah. Oh my God. Like her going manic. Yes. And just, yeah, she, she, she, she really sold it with that getting twisted into a self pretzel, like nobody's business. Uh, Chloe Moore's grace. Um, her sense of frantic delusion at the beginning, like seeing how hyped up she was and just so out of it. Um,
01:07:34
Speaker
I've never really seen her do anything like that as far as that kind of a role, but I mean, it seemed so, so part was kind ofliable seemed part of it seemed kind of hacky-ish. I don't know. Yeah. i know so i get a ask but and No, I would agree. It still is okay. she had But she had very little time on screen, so there wasn't really much to really see from her as far as acting, so it doesn't really matter. I loved her as Hitgirl. Oh, yeah, for sure. kicks ass through as a Sunday as a girl for sure. um Dr. Kemper, like I forgot that that was Tilda Sweatt in there. Like, you know, yeah like beginning, I was trying to remember that, but I eventually lost focus of it entirely. yeah And the fact that she was playing three different roles was pretty incredible. Mother Marcos, I mean, anybody could have really done that. Not really, didn't really have to do that as a third role necessarily. um And why you couldn't find a dude to play Kemper, I don't know.
01:08:25
Speaker
But still, the fact that she did all three of those roles is still pretty sick. Madam Blanc, Tilda Swinton's always been so amazing in her craft. And her is Madam Blanc. And like the way she portrays the seriousness and the depth of trying to be a professional dance studio, how important it is to move in these ways for this dance, for Volk. Volk, something like that. you know, trying to really stress how important it because unknowing to them it's part of the ritual to be able to move this way and to do this. I think that kind of emphasizes that need for the jumping because you see that part where the one dancer who shows her how to do the series of jumps. yeah
01:09:01
Speaker
does the pressing of the hands and the feet. And then next thing you know, as she's doing her thing that that performer ends up like just losing, sieging out and shit eventually. So it's like she took a gift from that one to give to her to make her better at this, to be able to perform this essence part of the ritual, which they then do later in the floor. I mean, that performance, you just don't really see much focus on her doing those jumps because they run over an aerial view over top, you know, before everything else goes down. And then Mia got for for Susie, though, or Sarah.
01:09:31
Speaker
And her sense of just kind of like rushing stuff off, like you were talking about earlier, Tim, and then going into like her paranoia and then the fear and then the discovery and panic that she went through ah before she ends up getting taken over, what I i assume was by Madame Blanc, I guess, and then ah having her come back up to perform the rest of the dance, you know, against her will clearly being taken over control with. And that person- She was bewitched. Yeah, there you go. Yeah, she was bewitched as it were. And her sitting there looking at Susie the whole time when she's moving around and trying so hard to break free from the grip that she's in in order to stop the ceremony. You know, I think she did a fantastic job with that. I mean, she really pulled it on that. um Everyone else, though, was pretty cool. It was pretty good. Mostly serviceable. Some good reaction with a lot of the witches in the coven. ah Even though you don't really get much of anything out of the mousy witchy off herself, you know, butter knifed herself left and right, you know. um
01:10:35
Speaker
ah Yeah, four. I think four is pretty good. Everyone seemed to play a pretty good role. um I do think you didn't mention the main character of the film. we do that wait well Did you talk about Susie?
01:10:55
Speaker
Oh, geez. Because you're going to lead into my point of she's fine. that's Because you I like I agree with it until the Swinton knocks this movie out of part until the Swinton is first of all, she's a little too from a direction standpoint, she's a little too on the nose for a witch.
01:11:21
Speaker
you know She's always wearing these gray drab long clothes that ah and just long hair that's down to her waist and nothing done with it. But that could be a chic style for the time though. very emotional its very Especially the dance academy kind of thing, artsy people, eccentric. you know Very witchy. Okay, okay.
01:11:42
Speaker
She was great. And then the the doctor she is incredible at. So they actually didn't let the cast know that Tilda was playing the doctor. Nice. Oh, she would arrive.
01:12:02
Speaker
in the makeup and play and they basically told the cast and crew that it was this elderly German man that played the role. And so they didn't know they were playing opposite until the swim until after. they It went so far at one point that they were going to say that the actor passed away before the premiere to explain his absence at the red carpet.
01:12:29
Speaker
ah But eventually Luca was like, that's a little cruel. yeah We'll let it slide. But they made a fake name that was, yeahp that, you know, explained it away. But I think that's, I think it's super cool. I wish the character mattered. and You know, Lutz Ebersdorf as he was credited.
01:12:52
Speaker
So that's just one of those things that I think it's super cool. She did a fantastic job. I don't know why. you know, ultimately, but like you said, playing the three different roles. She's so talented. She's incredible. ah I do think this is Mia goth standout performance for me. I you know, we mentioned the tie West trilogy. I've third one's not out yet. It's probably out by the time this airs. But
01:13:28
Speaker
She plays like the opposite personality in those films. She's kind of arrogant. ah Definitely an ex. She's kind of arrogant. She thinks she's the shit. you know And then Pearl, she plays this humble farm girl. And in this one, it's
01:13:43
Speaker
humble farm girl, but it's different. It is different. And we go on that journey of her basically becoming fearful. And she does so good. And when she shows up at that dance just glassy eyed,
01:14:00
Speaker
That is more unsettling than anything Susie does. I think that scene kills it. And I wish, I mean, my wife watched this with me and she just goes, I just don't think I care for a Dakota Johnson. And because, you know, she's she's fine in this movie. I couldn't tell you that there was a problem with it.
01:14:30
Speaker
But she's kind of one note the entire film. You know, it's very much kind of the same the entire way. ah Or is it Redhead? I didn't really recognize her at first, to be honest. I was like, oh, that is Dakota, okay. But the Chloe I, you you were being nice at the beginning. I thought Chloe was pretty rough. Chloe was pretty rough in that opening scene. So I don't doubt her talent. I just think that scene is, that scene's a little weird. So I give it a four. Tilda brings everything up in this film. The Coven of Witches is actually fantastic. I wish, almost wish they would have had more screen time. I think the biggest complaint
01:15:20
Speaker
is that Dakota Johnson isn't, I never really felt for her, so I couldn't really dive in on Dakota's performance. However, she's surrounded by great performances.
01:15:34
Speaker
Yeah, I would agree there. Cause I mean, I really think the only time, I mean, I came into this having seen her in like the 50 shades movies ahead of this where I was like, she's like, I was nervous to come see this movie for the first time. Cause I was like, she's not good in those movies. And I'm like, oh, okay. And I mean, it's definitely like the twilight effect where it's like, you just have bad scripts and these people doing their roles. And then cause I like her in the first half of this when she's like very just nervous very just kind of like timid around all these people because they all have world experiences and she has none it's when she kind of gets arrogant that i kind of just forget about her outside of when she has her great climactic scene at the end that's not even her that's everything that's going down around her. For me, Tilda Swinton's performance, as we've all been saying here, just kind of knocks it out of the park. And that's who I kind of look at as being like the true star of this movie. And I mean, it might just because of the three roles that she does play that she does all of them. up Marcos is is what it is. But like, the other two are so good, whether or not like they, you know, progress the story or if they're actually just secondary characters that she carries it and makes it
01:16:41
Speaker
Mia Goff, just she's great in this one as well. So I end up giving this a five only because I'm doing my rounding rules where at 4.5, I round up to what I learned in math class. So that's where I'm coming in with my score. That's fair. That's fair. The one thing that gets me when I'm doing like letterbox, I'm like, man, people are going to think I like this movie more than I'm liking it, but this is how I round everything. so I would rather be forgiving than overly critical. That's why I'm struggling with this movie. Fair. Okay, so from the acting on to the direction.
01:17:18
Speaker
Okay, so with direction, um even though you hate all those quick cuts at the beginning, I do like how they did that for effect just to kind of roll on with that sense of her going crazy, yeah you know, kind of helped emphasize that. um the The slow parts of that slow deliberation and meaningfulness of Dr. Kemper throughout his parts for the most.
01:17:43
Speaker
um And then just some of like the way they ran those shots throughout the academy were pretty cool. Like some of those scenes where you see the light come off up top and then there's the stairwell coming from the catacombs from from under the academy. ah Some of the shots like where at the beginning where was it ah Susie gets to the academy and she's talking to Miss Tanner.
01:18:04
Speaker
And then as they're going further into the school, you see Madame Blanc there staring at her from afar behind the glass and getting that kind of fade shot as it kind of pans in or like zooms into her staring at them. And then you still see the reflection of them in the glass. Yeah, it was pretty cool. You know, um then there's that part where ah Susie and Sarah are sneaking into the office in front of the building.
01:18:30
Speaker
Sorry, first off, you ain't sneaking. You're not fooling nobody with those boots going off. Clack, clack, clack, clack, clack. I got a lot of shit out there. Okay. That's not fooling nobody. Whatever. But they're super loud in the office. They're just like opening up things and like slamming them shut. I'm like, what are you doing? Like everybody knows what you're doing right now. Yeah, but with that, even though Suzy goes into the next room, they're making all this noise in the office and then she goes in there and the witches here got those cops in the trance messing with them, having their shits and giggles, whatever. But how do the witches not hear them? Do they just cackling too much to hear all that?
01:19:07
Speaker
What the hell was going on in that scene? Dude, they were having the time of their lives. Cops do with his pants down, his ankle dang well, and which is the hook. They're poking his wiener with the hook. What is that about? I don't know. They're just like playing with some dangle with a hook. I don't know. About to you know hook up a worm for some fishing. I don't know. But it was so twisted, but kind of weird. And the fact that Susie sees them comes back and doesn't say anything to Sarah about, hey, you would not believe this crazy shit I just saw it here. Like, oh my God. Booking that cop's dick back there. Booking it with a hook, man. Like, what the hell? Leave his worm alone.
01:19:51
Speaker
But there's just like so many weird things like that. And then some of like the views you get and like some of the direction with where like when they're doing the performance towards the end, everyone's in like the red cords and stuff. Some of the way they shot that with a lot of those overhead views and kind of back contrast where you see kind of into the crowd that's there. yeah There are so many different angles. The way they moved around everything I thought was really, really well done.
01:20:17
Speaker
um So I'm going to be kicking it at four. Yeah. All right. So. Spoiler alert, I know these episodes come out the 13 nights leading up to Halloween, but we recorded them in advance and previously.
01:20:38
Speaker
Jonathan and I recorded Dirty Dancing. So it's just interesting to compare a dancing movie and this dancing movie. And wow, I might just prefer the way Dirty Dancing was filmed during the dance segments. I appreciate what Luca did in this because Dirty Dancing made the dancing look beautiful. This does not look pretty at all. This dancing,
01:21:07
Speaker
It feels more, like I said earlier, it feels more ritualistic. And that was definitely intentional. you know That was definitely what he was going for, I assume. Because that's what's conveyed. it's It's what's most effective. And it works. I don't think any part of this movie has, from my total lack of understanding of the dance world, something I would consider beautiful dancing.
01:21:34
Speaker
it is very
01:21:37
Speaker
It's almost tribal yeah in an element. It definitely feels like a ritual being performed. And I think that's awesome. I think the way he filmed it is super cool. I love a lot of the overhead shots. I'm a sucker for overhead shots. I love overhead shots. I love long overhead shots. John Wick for King But Hitchcock has quite a few of them as well, but some of these dance over head shots were very cool
01:22:14
Speaker
Just the way the lighting was done during that final dance performance is awesome. I loved, even though like I was looking for a thematic reason to have it, I love the use of mirrors in this movie. Lots of mirrors and windows, reflections. And I thought there might be something deeper there. i I didn't see it, it might might still be there, but there's a lot of use of mirrors and reflections that's really cool, really well done. ah My biggest complaint, and i don't i this is the first Luca film I've seen, so I don't know if this is indicative of his style or not, but at times with his quick cuts, and especially his quick cuts to character-less shots,
01:23:08
Speaker
almost feel like a slideshow of stills versus a movie. okay And the stills themselves are beautiful and they're something I'd love to see, but it it brings a disjointed feel to it where I feel like I'm watching a slideshow, not a film. yeah and Ultimately, I gave it a four. I'm right there with you, Jonathan. I think there's a lot of, it's a visual style that he was going for. And I think he succeeded in that. So this is one where I'm trying to be objective whether I liked it or not. yeah I think it looked good.
01:23:52
Speaker
i even so i was critical of that first scene but there are a lot of cool like shots of like i'm not sure why picture frame and books cool it looks really good it looks aesthetically pleasing i like it don't know why it was there for half a second but we're I'm okay with it. So That's that's where I the dancing is good. Hey Yeah, I'll save the rest of my thoughts. I think this movie falls apart in the third act in the final act but Yeah, I gave him a before I thought he did it I thought he did a great job and I especially not I don't want to go too much into Argentos but I
01:24:35
Speaker
He made this his vision yes of the story. There are a lot of choices that I think were very intentional to avoid comparison to the original. And whether you like those choices or not, I can see why they were made. So I gave them a four for that.
01:24:58
Speaker
I was going to say that actually kind of leads into what like the big thing for me is that I'm glad he did not try to like out Argento in making a remake of an Argento film because I definitely think that would have gotten this eviscerated from the start.
01:25:13
Speaker
instead of going like bright vivid colors, you go drab and just how bleak Berlin was at the time with like the wall being right there and just everything is so gray outside of like certain things with the coven. So I'm so glad that he did that. Now I've seen one other movie from Luca, I believe he did bones and all. And that movie does feel kind of similar with how they can, I mean that one takes place more in like,
01:25:39
Speaker
the outskirts of cities in the Midwest, I believe in the 80s. So you definitely get that type of thing. I almost feel like we said with the slideshow, he does do that well, where he sets up these different little cities that this couple goes to. So I definitely think it's a stylistic choice that he enjoys doing. And I appreciate it just because I mean, even in this movie, how you can make a bleak looking Berlin just look so beautiful with each where I'm like, okay, like I feel like we're here. I feel like you're doing this. And then how he frames and shoots the dance sequences is great. So I came in right there with you guys as a four, just because I think he does very well with what he's doing here. There's just some things here and there that I might not just love. So I can't give him a perfect score on it, but definitely it's really good. Yeah. Okay. Well, one other thing, a couple of actually couple of things I wanted to point out also. The dream sequences.
01:26:31
Speaker
Even ah some of the flashes and the things that you see and how twisted some of that imagery was, was pretty intense in itself, even in the short spurts you get during those dreams between the crazy witchcraft stuff and then the flashbacks to her mother and the abuse and all that stuff. I think good emphasis with the contrast of like who she is at the start versus who you see her become at the end.
01:26:55
Speaker
It's pretty sweet. And then, um, we also get most of our callbacks to the original film during those dream sequences. Okay. All right. So that's something for you to keep an eye on.
01:27:07
Speaker
So even though in some of the stuff you see online talking about how it, you know, how pointless the the time period was for the setting, I think with it being this secretive dance academy, I think setting it during the 70s in Germany, um the way when you look at everything else, I'm not sure if you know system since we both went to AI and all, but you see that kind of Bauhaus style.
01:27:30
Speaker
Oh yeah. In a lot of stuff, very prominent in the poster scene on the wall yeah when ah Susie is standing against that black poster and the way the letterings are arranged with Madame Blanc and this and that, Studio Times and all that stuff. This had that real deep Bauhaus kind of style for the time and I thought that was really awesome and kind of a Greek touch and maybe that's why partly they set it in that time because of how that style kind of has that kind of punch to it for the time and then the drabness of the scenes. It's also in the title cards and credits and it's... Yeah.
01:28:00
Speaker
It's one of my favorite parts um is those elements being from the graphic design world. I just I love it. But yeah, OK. So on to the guys, I was super harsh on this one. i Yeah, persuade me. You can share in my mind um if factor cultural significance.
01:28:27
Speaker
So I'm just gonna come out and say it right out. um I stuck this out of three. I wouldn't say there was anything too critical. um it I think it gives kind of like this alter aspect of the seriousness and intensity that dancers experience in these academies, especially back at those times versus how things are usually run nowadays. um So I think when people see this, it's a stark contrast, especially for people who actually are in dance. And then how soft yet how raw interpretive dance can be in this way.
01:29:07
Speaker
um I think has a big standout point to it as well. um Other than that, i've I've read online that they were talking about how it being said in Germany was supposed to make it just kind of like a guilt piece kind of thing, which I don't really get that. Yeah, because that's also the Holocaust stuff brought in that is kind of this guilt trip that doesn't really serve the story. Yeah, especially with Madame Blanc tops about how like it's been 40 years and such and such, you know, and, you know, especially with that dance, they did the vault being like, what was it? day They made that created the dance in like what, 1948, they said or something, something like that. Yeah.
01:29:41
Speaker
Yeah, so yeah i'd been around so ah it was kind of odd in that way, but overall, I thought it was it was was okay that with the relevance, with like terrorism and you know people trying to be free and escape the separation that they had between East and West Germany post-Cold War. um Like I said, it wasn't overly significant. It wasn't to anything but really brought attention to too much of anything. We're not really relevant today necessarily, maybe. ah But so yeah, I think three is fair.
01:30:10
Speaker
Okay. yeah Yeah, you're significantly more generous than I am. You again, I love hearing i love hearing your takes on the it factor because we come from totally different perspectives on it factor. i Those things that you like, I'm sitting here realizing it factor was made apparently for movies like this because I never would have put the cultural parts of Berlin, which seemed to have no effect on the story of this film whatsoever, as contributing to the it factor. So I think that's totally fair. ah I came at it as this movie was a box office failure that had planned sequels
01:30:55
Speaker
And due to the devastating box office returns, the sequels will 99% chance they're never going to happen. Boo. It was a box office failure, but also it came out in 2018. That was the year you and I graduated from AI. Yeah. Oldest of our class. but but ah I didn't know this movie existed in 2018. You know? yeah It didn't know it happened. This is a remake of one of the most significant horror films of the 70s. And I didn't know it existed. And that's problematic. So, ultimately, the only reason I knew this film existed was because of looking up Mia Goth in from later films.
01:31:49
Speaker
and looking up Chloe Moretz to see if she was still doing anything. And then yeah, she's she's in this one. Mia Goth was in this one. Tilda Swin's super talented. I don't seek out her films though. yeah Not, not something I do. um I've never, like I said, this was my first Luca film. So
01:32:13
Speaker
Yeah, so because of that, man, I feel so bad. I give it a zero ah because I barely knew this film existed. So i I do, like I said, I genuinely appreciate Jonathan shedding some light on the cultural issues the film addresses. So because of that that, it raises some good points. And I think he's trying to draw some parallels there i'm just They're a little too open-ended, but I'll bring it up to a one. I'm gonna bring it up to a one because I felt too harsh. I felt too harsh, but I had to box off his numbers and the fact that this film was not well known, I had to give it a pretty low it factor.
01:33:08
Speaker
I don't think you're wrong though in that assessment from how you're looking at it because this one I had known about just because I had already been doing like my podcast doing like end of your list. So I end up seeing this in the theater in 2018 because I knew it was coming out and I wanted to make sure that I had saw it to see where it would fall in my top 10 and everything like that.
01:33:28
Speaker
but this one is super divisive. Like I have some podcasting buddies who absolutely love this like 10 out of 10 to them. Like I think it's right there with the original one as being like one of their favorite horror movies of all time. There's other people that absolutely just hate this movie where they are like, they love the original and they're just like,
01:33:47
Speaker
Oh, man, like, why would you remake this? Like, you're not going to do this, this and that and the other. So I end up giving it a three just because it's so divisive that I feel like it almost gives it that weird like cultural significance where it is like you have this army on this side that loves it, this on the other side that absolutely just hate it. And any time it gets brought up, it just becomes a battle if there is both sides of it on that type of thing who just absolutely are on either side of it, which is just sometimes hilarious, or I'll just be listening to people debate about it, and I'm just like, man, like I almost wish I was part of this. That's totally fair. Totally fair. It's like bringing up a Star Wars movie. Right. Yeah. That that makes total sense. Total sense. All right. Was that all you had for that one? Yeah, yeah, yeah. Okay. So overall, given our, like I say, this is the moment where we do
01:34:43
Speaker
you know, most of what you see of the total, you know, 10 out of 10s or whatever. This is that score for us. How entertained were you?
01:34:55
Speaker
Well, let me tell you buddy. Okay. I was just, at first I didn't know what to think and it being a dance film and all, and it totally blew away my expectations. And I would definitely watch this again. I'm all for that. I i would definitely tell people about this movie and how raw it is throughout a lot of it. And I'm, I'm kicking it with a hardcore nine, dude. Yeah.
01:35:24
Speaker
Very nice, very nice. ah I think... I actually think this film would do better today than it did in 2018. I think the movie-going audience, A24 Studios, has kind of paved the way for movies like this. yes Watching this movie, I often was like, this is like an A24 film. You know, this is...
01:35:53
Speaker
an artist's vision yeah of a movie. And I think more people will be open to it today. However, for me, I can't say that I ever want to see this film again.
01:36:07
Speaker
but So unfortunately for me, it does come down to the final climactic scene and how unsatisfied I was or dissatisfied I was in how they brought these elements together. I i said at the beginning, my wife and I were totally with this movie three quarters of the way in.
01:36:32
Speaker
And then the second she's like, oh, I'm Mother's Hesperiorum and head start popping. I was like, what are we watching? What just happened? And as cool as it is, i I just felt let down in how I got there. And so I have to question when I was doing my entertainment value, I was like, I was on board for a good chunk of it. That's where the four comes from. But ultimately,
01:37:01
Speaker
I'm not sure the two and a half hour journey is worth it for me again if I'm that dissatisfied in the ending. Now, I do see this could be a movie that I would change my entertainment value later because I do think this is a movie that repeated watches reveal more.
01:37:22
Speaker
Oh, yeah. I think so. So I definitely think that this is one of those movies. It's just one of those where it's going to be a year or two or quite a significant time before I want to sit down and watch this again.
01:37:37
Speaker
OK. Right on. Yeah. No, I mean, kind of going along with you, I Being the third time that I've seen this, I literally watch this, it feels like every two to three years. And I agree with you. This isn't one that I could watch every year. Or like, if I had to watch it twice in a year for like, say somebody else is like, hey, do you want to jump on this show and talk about this? I would have a little bit of a struggle watching it too close together just because that two and a half hour runtime is something that is like, man, I've got to find a way that I'm going to go ahead and carve out this much time.
01:38:08
Speaker
with my busy schedule to kind of do that but with watching it every so often like I mean the original one I can watch as of right now I don't know how it always happens but I watch it about once a year and I'm like oh like I'm excited like I'm gonna go ahead and not watch this one this one I think every couple years like and I also kind of rate after each viewing, it can go up and down just kind of depending how I feel. Like if I end up watching this again, like a month from now, I think my score would go down just because I wouldn't be emotionally invested in watching it that close together. But if I watch it again, in like two years, my score would probably be it stayed the same because I've had so much of gaps in between each watches. So I ended up coming in for myself as a nine on this one as well, under that like caveat that I watch it with enough time in between watches.
01:38:53
Speaker
Yeah. All right. Awesome. No, i'm I'm genuinely glad that the two of you who enjoyed this more than I did. ah I feel like I've been dragging Jonathan through some some films he's not a big fan of. this is Even though this was my choice, I still didn't enjoy it that much.
01:39:15
Speaker
Yeah, I mentioned at the beginning, I'd never seen this one and I'd actually put off the original. so I finished this one and I immediately, I could have told you. I'll wait. I'll wait till you talk about the original one. Six days. yeah Six days and David will be back with us to talk about Dario Argento's Suspiria. And then we can dive into, this this is one that, so we just did the first House of Wax fun yesterday. Yeah.
01:39:44
Speaker
and This is one that, you know, both of those kind of reinterpret their original films. This one draws more comparisons than House of Wackstead. So I think we're gonna have an interesting discussion yeah in six days on what we think of these two together. So final scores overall. Gentlemen, let's see. oh yeah we am I am a 28.5 because of that. and then For me, I'm sitting at ah a nice high horse of a 42. I am at a 41.
01:40:29
Speaker
All together, my wife actually scored this with me. um Her comments at the end of it were that she is going to need she is going to take an extra pill of her anxiety medication it fair at the conclusion of the film. so that is so her she calls it She calls it busperoni because the actual medical term is very close to busperoni or something like that. and so She calls it busperoni and her exact words at the end were, I'm going to eat a busperoni sandwich. That's she had to say about this film. All together, averaging that out, we are 37.
01:41:16
Speaker
37 out of 50, three and a half stars. de and my wife My wife's score was 36, so that's why it was brought down yeah quite a bit. She enjoyed it more than I did. This is more her type of film. um But yeah, I'm excited to get into the original in six days. Yeah. You know what? I actually just kind of thought of something here. Yeah. um What they could have done to cut down a lot of time and get rid of most of the camper bullshit. It's kind of clever.
01:41:45
Speaker
We can still keep him in there a little bit for a small character, but they could have had, like when they trick him into coming to the academy using the image of his wife, Anka, they could have used the image of Patricia to lure him instead. And we could have cut out all of that extra backstory stuff and saved a whole lot of time if they had just done that instead. And it would have had better flow to the movie versus all those slow parts with him tottering around.
01:42:13
Speaker
but then you miss the cameo of the original actress. That's true. They could have found a different role for They could have found a different role for her. They could have played more of the Coven members. It's... Dude, seriously. That would be just as easy and just have her... You don't even have to have her in every one of the Coven scenes either. Just have her in one of them where you just prominently focus on her and then move away and you're fine. Or she could have been the quiet one. She could have been the quiet witch that offed herself. Or she could have been that. Here's a twist. Instead of Mother Marcos being a disgusting old hag,
01:42:43
Speaker
Ooh. She was played by her. And she was actually just a beautiful lady down there and not ah warped with her discussing this. I think there's something actually quite chilling about that. But what was I going to say about dan it? Dang it. Anyways, any other final thoughts on this movie? You brought up your little closing statements.
01:43:13
Speaker
I say, I think like I'm good. I think I'm good. Yeah. OK. All right. So thank you for joining us. This was night three of 13 Nights of Halloween, joined by David from Journey with a Cinephile. So thanks for being here. Thank you so much for having me. I had a blast. Awesome. So he will be back in, if my math is correct, six days for He's episode three and episode nine. So, there you go. And we will be talking about Jario Argento's, what many consider a masterpiece, certainly a classic.
01:43:57
Speaker
I can't wait to see it. it's veryy So I can't wait for you to see it. I can't wait to watch it again. ah So we'll be back for that. In the meantime, we have six other days between then you have your cocktail list going up on Instagram. If you're making those, this is look good good we're putting the recipe, we're putting the instructions for mixing it. It's up there. It is paired to go with the movie. So if if Yeah, if the five of you who are watching make the drink I want to see it tag us post it on Instagram I want to see how that thing looks. I want to see how it tastes. I'm gonna try to make them
01:44:36
Speaker
You can't make them all. There's quite a bit of ingredients. I understand if you can make them. Well, maybe I'll try to make some of the ones you don't, then. OK. Between us, we'll get it figured out. So and let us know the cocktail pairing is something new. I've never done that before. I just tried to add something to our 13 Nights of Halloween. So yeah, I wanted to class the event up, but we had a Ricky on the last episode, so there goes Thaat. Losing Ricky.
01:45:03
Speaker
All right. So we will see you tomorrow. We will see you tomorrow with the fly remake from 1986. Yeah. So Travis from the nightclub is joining us for
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Speaker
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