Welcome And The Halloween Setup

Speaker 2 0:00

Greetings and/or salutations and welcome to Imbibe Cinema. The Imbibe Cinema podcast is brought to you by the Blue Whiskey Independent Film Festival, otherwise known as BWiFF. The hard F. That is one hard wif. As well as our producer, Michael Noens. In this episode, we are going to start becoming serious. We're going to be discussing the 2000s psychological thriller. Hence, you know, this is our Halloween episode. What Lies Beneath? The cocktail we are imbibing is called What Lies Beneath, which consists of gin, a plum liqueur, some vermouth peach bitters, and has a dill sprig and dried seaweed garnish. It looks very underwater.

Speaker 4 1:16

It does. It looks like kind of a potion. It has a potion-like feel to it. Although, for anyone who catches the making of the drink segment, remember that some vermouth might come out quicker than anticipated. And it could be a lot of vermouth.

Speaker 2 1:31

I got a little excited about the Vermouth. Premature Vermouth nation.

Speaker 4 1:35

Just say the bar will it'll clean up.

Speaker 2 1:38

I mean, you know. The bar will never forget. It'll be a little sticky. Um look for an episode recap link in our show notes where you'll also find a written summary of our discussion, along with the picture. It is a beautiful, beautiful cocktail. Yeah. Picture of this drink and the ingredients and proportions that you can make your own, what lies beneath at home. All right. So we we we we've already unintentionally started talking about the liqueur, the plum liqueur, and how tasty the drink is. And uh we we already made at least a reference to Zumecus. So I I think now is a a perfect

Favorite Robert Zemeckis Movies

Speaker 2 2:16

opportunity. Dill sprig to your head. What is your favorite Zumeckis film?

Speaker 2:20

Oh, geez.

Speaker 4 2:21

If we're going to his horror films. Oh no, I'm just saying his premonition horror films. And we go with Back to the Future 2. No. Zekeda was a big Roger Rabbit fan.

Speaker 3 2:32

Mm-hmm.

Speaker 4 2:33

Do you remember me, Eddie? He's constantly pushes boundaries. He's constantly doing something that's like nobody's tried doing before. Yeah.

Speaker 2:40

Yeah.

Speaker 4 2:41

Um, I'm gonna go with Forrest Gump.

Speaker 2:43

Oh good one. Great one. I think actually classic cinemas is showing that in the theater at some point this this fall.

Speaker 4 2:50

In American history, you should be forced to watch Forrest.

Speaker 2:52

Forrest Gump.

Speaker 4 2:53

Because there's so much, there's so many nods to a great deal of American history.

Speaker 3:00

Yeah. What about you, John? Do you have a favorite?

Speaker 2 3:02

I I mean it is it is a difficult thing to to play with, but I would say that um I I think Back to the Future might be my favorite of the Zemeckis films. But I mean it's it's hard.

Speaker 3:16

Is that your favorite Back to the Future too? The first?

Speaker 2 3:19

Uh I mean, three was I think always near and dear to my heart because it was the wild west. But I mean, I feel the more I have aged, the more the OG one like reigns supreme. Sure.

Speaker 4 3:33

I think one of the things that makes the third one so good is everybody loves these characters so much by the third. It is a homecoming and kind of like bittersweet.

Speaker 2 3:43

Yes. And just continues to play on jokes that they like. Literally got your rule of threes.

Speaker 4 3:50

Yes, and he plays so well on touching on the same stuff in a new spin, but enough that it's like it's an inside joke that the audience gets. Yeah.

Speaker 4:03

Yeah.

Speaker 4 4:03

And you know, as more things change, the more they stay the same. Even if you rewrite the past.

Speaker 4:09

Well, I think uh what's interesting, and and I really should re-watch all three of them. The second one jumps out to me. Well, I think more of the reason why I enjoy it is is only because of the first, because you have to see the first in order for you to fully appreciate and enjoy this the second one. But it's the it's the way that we relive a giant section of the first one from a whole new perspective. Yes. And it feels pretty seamless. Yes. Which is which is pretty cool. For me, it's contact because it has to be because it's my favorite movie of all time. You look at his library of films, and I do find myself struggling to just pick that. I mean, Castaway is remarkable. Flight.

Speaker 4 4:52

And it's no two movies are alike. Like there are filmmakers that have a style that is very unique to them, that it's like almost like a band where it's like, oh, I love this song, but you basically do variations of the song.

Speaker 5:06

Of that song, yeah.

Speaker 4 5:07

Right? Yeah. And he's just so all over the map. But it doesn't matter if it's silly or if it's like it's always moving. His mo his movies are always very human and they really touch on something that kind of pulls at your heartstrings. Yeah.

Speaker 5:30

Even Roger Rabbit. Yeah, the thing with with all of his movies, it's weird. It's it's kind of hard to explain it, but to your point, it doesn't like a Spielberg movie feels like a Spielberg movie in in a lot of cases. He's got very specific things that he routinely does. And it's not that Robert Zemecas doesn't do that. There is a little bit of that. But what I feel like is really more of his trademark is being groundbreaking in visual effects, motion capture. He takes big swings. Yeah. Yeah. He is not afraid to take a big swing and completely miss. He just doesn't typically do that. Personally, I haven't been crazy about his motion capture films. I feel like they don't have as much heart and soul. Soul is probably the right word, I think. What motion capture movies?

Speaker 4 6:22

I don't remember.

Speaker 2 6:23

Beowulf, Polar Express, uh Christmas Carol.

Speaker 4 6:26

Okay, yeah. Yeah, I get what you're saying.

Speaker 6:28

And he did that actually for like 10 years or something like that. He hadn't made a live action movie in a very long time because he was really pushing the boundaries in motion capture work, which was great. I mean, I think it it was very important that that be done. I just missed live-action Zemeca's films. And so when we got Flight, which was his first one after a long period of time.

Speaker 2 6:53

Castaway and What Lies Beneath in 2000 and Flight in 2012. Yes. So he was there was a 12-year gap. And to be fair, you know, because we are talking about what lies beneath.

Hitchcock Influence And Visual Innovation

Speaker 2 7:04

Yeah, there is the level of motion capture and digital uh special effects.

Speaker 4 7:11

Special effects and remastering. There are things that he does. I mean, the whole thing is a love letter to Hitchcock.

Speaker 7:17

Yes. Yes. But very much so.

Speaker 4 7:19

He was trying to capture the movie the way he thought Hitchcock would if Hitchcock had access to the tech that Semekis did. Because Hitchcock was always pushing boundaries. Yeah. And there are techniques that he pretty much invented that have been used ever since.

Speaker 7:40

Like Vertigo, there's a way that he pulls like it's the idea of where like the background is moving the subject that you're you're focusing on stays put, and yet there's like this expansive background. Like the background gets farther and farther away, or closer and closer and closer. And the way that you do that is the camera ends up zooming in or zooming out while the camera is physically doing the exact opposite.

Speaker 4 8:07

Yes, and you've used that technique.

Speaker 8:09

I have. It's very difficult to master without like a number of people. Um and you really, you really have to hit your marks. Yeah.

Speaker 4 8:17

But it's really cool when it's done. And it has this lasting effect on the viewer. I mean, I think Vertigo helps because I think anytime any character in a film is all like, oh God, this is high. Anytime they get kind of scared of heights, that effect is used.

Speaker 8:33

Yeah. Well, immediately the the shot that always pops in my brain is actually Jaws is the scene when Brody sees something and you see the beach get like this this crazy expansive, and you just see the panic on his face. Yep. But for whatever reason, that's like the first image that pops into my brain post Vertigo.

Speaker 4 8:53

And I could be completely off base in saying that that was a Hitchcock move first, but I think it was.

Speaker 9:01

Well, I will edit that if it wasn't. Yeah.

Speaker 4 9:04

Thank you. I mean, obviously he wrote the book on a lot of suspense.

Speaker 3 9:07

Yes.

Speaker 4 9:08

This movie, we're watching it the other night. I I'm like, I don't remember all the details because it's been a long time. But I'm like, no, when she's trying to get away at the end, I'm like, this is one with the camera. This is the camera shot. And I'm like, and I was like, what camera shot? I'm like, the one that's long. I don't know. I don't remember.

Speaker 2 9:28

And I'm like, is it a one shot? And she goes, I don't know.

Speaker 4 9:30

And I'm like, I don't remember what is special about it. I just remember when you see it, you'll know it, because you'll be like, whoa. Because it at the time it was really cool because you see the car from a distance crossing the bridge, and then the camera moves in and goes right through. Yep. And this is before like you could use a drone to do that. Right. Now you could get an aerial shot like that. Exactly.

Speaker 2 9:56

My favorite camera trick that they did, uh, and I would love to know how they did it because it was mind-effing to me. It's when she's been drugged and it goes from above her to suddenly as if it is looking through a glass pane under the floor at her face down on the floor. Right. And so, like, you know, you know that there was floor there a second ago, and they're able to like show Harrison Ford above her that her face is pressed to what looks like a pane of glass, obviously, to be able to make that shot, but the floor.

Speaker 10:33

Yeah. So it's like you're just underneath the floor. You're underneath the floor, seeing through that wall.

Speaker 2 10:40

Yeah. They're breaking the fourth wall. Fourth floor. Damn it, come on.

Speaker 10:46

I was just gonna say, real quick, Trisha. When you were talking about the homage to Hitchcock and about how if Hitchcock were alive, what I loved about that was in watching it this time. Like I think I just looked at it as an homage to Hitchcock when I first saw it and was like, oh my god, this movie is so good. Re-watching it, what I really admired was I felt like I'm not gonna try to be Hitchcock. Instead, I'm going to take these things that he has done and I'm going to yes and them.

Speaker 4 11:23

Exactly.

Speaker 11:24

Yeah.

Speaker 4 11:24

Heighten and explore.

Speaker 11:25

Yeah.

Speaker 4 11:26

There are other people when they make a a love letter to a style of film or uh franchise or whatever.

Speaker 3 11:34

Yeah.

Speaker 4 11:34

They tend to just mimic, they copy. Yeah.

Speaker 11:38

Right.

Speaker 4 11:39

In some cases, they remake the exact same movie. Like Psycho, shot from shot.

Speaker 11:43

Which is weird. Yeah. Such a weird approach.

Speaker 4 11:45

And Psycho did two things. It changed movies. Yeah. And came out in 1960. Before then, you could just walk into a movie at any point. You could buy a ticket and you can come in halfway through, you can come in at the end, and then it will cycle again. And so you just you could just pick up the front. Like uh you didn't have to come in at the very beginning, but it was very important for everyone to be there within the first five minutes of film. So it was decided you can't come in after five minutes. That's it. And and then it created this, well, why can't we? And then there was this draw to the box office because of it. It was like, what's so special about your movie that we can't come later? And then of course is billed as the the lead in this movie, and she gets spoilers. Yes. But that is a technique that had never been used before. Yeah. And then after that, you see it in other movies. Yes. The one that jumps into my mind is Scream. Yes.

Speaker 12:44

Dies in the first five minutes.

Speaker 4 12:46

Right? But I was thinking it was in a deep blue sea.

Speaker 12:48

Oh, no, he makes it pretty good.

Speaker 4 12:50

He makes it halfway through, but you're like the big name, you don't care.

Speaker 12:53

I mean, oh no. Uh the other thing with the cinematography, with what lies beneath, you guys are talking about the bathroom.

Speaker 4 13:00

Mm-hmm.

Speaker 13:01

In particular, at the end.

Speaker 4 13:02

Well, yeah, but that bathroom is like a huge part of the haunting, all comes from there.

Speaker 13:07

Yes. His use of long takes, the stale moving slowly, and hanging. Basically, before this, you know, we would cut to something and

Long Takes, Oneers, And Unease

Speaker 13:20

there would be a jump scare.

Speaker 3 13:21

Yeah.

Speaker 13:21

There are lots of jump scares in this movie. It's not like a lulling you into a sense of false security. Right. Instead, it's you're leaning forward, you're on the edge because you know something creepy is about to happen. And sometimes it does, and sometimes it doesn't. Correct. Right. And uh, and he just he really, I felt like played with how far can we go with this.

Speaker 4 13:46

Right. Well, and building that tension, yeah. That keeping the audience just unsettled and uncomfortable. And one of my favorite shots is the continuous where she is cleaning up after the seance.

Speaker 14:00

Yes.

Speaker 4 14:01

So she's alone in the bathroom and she comes in from one door and she's picking up things, she puts the candle away, she takes the Ouija board and the stool and she goes out the other door, and then she cycles and the camera follows her the entire time.

Speaker 3 14:14

Yep.

Speaker 4 14:15

And then all of a sudden there's steam coming out of the bathroom.

Speaker 3 14:18

Yep.

Speaker 4 14:18

And it's like you just we just left that room and already it's reset.

Speaker 2 14:23

Yep. And it's just moving. Massive kudos to Alan Silvestri. Yes. Because, you know, I mean, Avengers End game, Forrest Gump, Ready Player One, Back to the Future, all these that he's contact. But like there were a number of points where I'm not one who who scares easily. Watched a number of terrifying movies and whatnot over the years. But I was literally just like, Trisha, I don't can we, I don't, I don't like this anymore. Can we do this on now?

Speaker 4 14:54

Because like how much more like this movie's another hour. Oh my god.

Speaker 2 14:59

No, like how many times is she gonna have to kill him? And and so like the the hairs on my arm and the back of my neck were just constantly like up on end. And I'm like, I don't, I don't know.

Speaker 4 15:10

I'm like, I know, I know we're gonna see the the ghost in the bathroom. And John's like, I'm gonna look at my phone during this part.

Speaker 15:18

He chose not to do traditional music hits at certain points, like like that moment when she is looking into the water, and then you see Madison back away, and you're just like, and there it goes again.

Speaker 3 15:36

There it goes again.

Speaker 15:37

The goose pimples all up and down the freaking and yet there's no change in the music. It's just like it's just the string. It's more of a just it's more of a keeps you on. Did you see that? Right. Did did I see that? Did you see that?

Speaker 4 15:48

The music becomes very Hitchcocky in the chase scene at the end. That's where it becomes like this. It's like swells out the swell prior to that. That yeah, he doesn't he doesn't do the whole like that's when she's really in danger. Hitchcock would do the trick that you would just take out the sound slowly, and then the audience just unconsciously is leaning forward to hear, and then you take it back full volume and make everybody jump. And I mean, Sixth Sense does that.

Speaker 2 16:16

Yes. Yes.

Speaker 4 16:17

Oh, the bathroom scene where it hits another bathroom.

Speaker 16:20

Stupid bathrooms where you just see somebody walk past it, the music hits at that moment and makes everybody go, I'm thinking of like these long takes, like you're talking about with the like the bathroom, like the circling around, like all these like cool tricks that they needed to do with all departments working together, obviously, to to make this happen. But what I didn't remember is like throughout the whole movie, there are, I guess they call them oneers, like in the very beginning when after they drop off uh their daughter and it's their first night, just the two of them, she's over by the window, and then she comes to the bed and he's typing, and like that's one shot, and we are just slowly moving across like the whole scene as you're watching it, you don't, I think, quite realize it.

Speaker 3 17:10

Yeah.

Speaker 17:11

And even though there's nothing that's scary, it's like lulling you into this. This is how this movie moves, this is the rhythm, this is how this is gonna work.

Speaker 4 17:22

I think in a in a way that builds trust in an audience because you're showing them your hands like a magician. You're going, look, nothing up my sleeves, nothing up my sleeves. We're not gonna use the camera to trick you.

Speaker 3 17:32

Nope.

Speaker 4 17:32

But at the same time, the film does a great job of doing a lot of time jumping through cutting.

Speaker 2 17:40

So much time jumping.

Speaker 4 17:41

Like she's hugging her daughter as they're packing in the car, and we go from that hug to all of a sudden in the same beat, we're hugging, and now we're in the dorm. And mom, you need to let go. Right. Right? But we cover a lot of time that way where we'll jump. And then there are flashbacks.

Speaker 17:59

Right.

Speaker 4 18:00

But none of it makes you confused about the time.

Speaker 18:05

Well, yeah.

Speaker 4 18:06

You can get confused for other reasons. Yes, okay.

Speaker 2 18:08

I was about to say, I was not confused about the time. It was the the the I was confused about her that they're on the boat, and she's like, Oh, we should go to this one town. Have you ever heard of it? And he's like, Nope, never heard of it. And then like it cuts back, and then all of a sudden she's like, I've got a key. And then all of a sudden she's in that town, and there's like where the key is, and then it cuts back, and I'm like, Whoa! I'm like, I'm like, what, like, okay, so much time jumping.

Speaker 4 18:33

Yes, but it does cover a lot. Now, the thing about the script that I find very

Script Details And Clark Gregg Reveal

Speaker 4 18:40

interesting is okay, so three things, three things that I love about the three things. Three things here are the three things in no particular order. One, the script layers so many little nods to different Hitchcock movies. Yes. And so does the camera, and so does Oh, yeah, like rear window 100% rear window. The whole red herring subplot is rear window, right? But there are like tiny references to Psycho, and they're all, I think, visual, like the shower curtain, sure, or the peephole between the fence.

Speaker 19:22

Oh, yeah.

Speaker 4 19:23

That kind of stuff. It's more of visual. I mean, his name is Norman, and that is deliberate.

Speaker 19:27

Should have been a giveaway.

unknown 19:28

Yeah, right.

Speaker 4 19:28

The script isn't just a lovely nod and like a little treasure hunt for every uh person who likes Hitchcock movies to be like, oh, I see oh, I got that one, right? But also the second thing is I love how real the dialogue is.

Speaker 3 19:44

Yeah.

Speaker 4 19:45

How we don't have to do a great backstory on our relationships. We just know because there's so much said in the little that is said. Like her and her best friend, we get that relationship. And we don't need a lot to understand who that character is and how they know each other.

Speaker 2 20:03

And even her re-encountering somebody who she used to play with an orchestra, the new arm piece of their friend, the fact that they immediately r recognize each other and are all giddy about the fact that they during that dinner where they're doing what lots of couples do, two conversations at the same time. And sitting across from the people they're actually having the conversation.

Speaker 4 20:23

And yet we follow just like you would at the table. And I mean, part of that obviously is the performance and the directing. But I mean, if it's not in the script to begin with, it's harder to pull out. Sure. Right. So I I think it's real, it stands on its own in that way, and it's a nice nod to all these uh psychological thrillers. Um, and then my third fun fact that I love about the script is it is an unlikely screenplay writer. It surprised the heck out of me. Clark Gregg, which you might know as Agent Colson of Marvel.

Speaker 2 21:00

Correct? He and Sarah Karnacken.

Speaker 4 21:04

Where she was the original story idea, I think, came from her, and then he did the script.

Speaker 2 21:10

Wow. Right? Right.

Speaker 4 21:12

Wow. And it's not like he's got any other scripts to his name, as far as that I know of.

Speaker 2 21:18

He wrote two of the films he directed: Choke and Trust Me. Okay. I've heard of both of those. Right.

Speaker 4 21:25

There's more to him than meets the eye.

Speaker 2 21:27

Oh, Agent Colson.

Festival Break And How To Engage

Speaker 2 21:30

All right, uh, we're gonna take a few moments to fill our glasses and get ready to imbibe more after this.

Speaker 1 21:39

The Blue Whiskey Independent Film Festival exhibits short and feature length motion pictures that utilize story elements in a new and exciting way. Our official selections are a carefully assembled blend of imaginative, sophisticated, and full bodied stories. This is what our name represents. Wiff audiences expect to experience character-driven independent cinema that is fueled by the filmmakers' passion for the art of visual storytelling. Filmmakers can expect an intimate festival experience where their personal story is valued as much as the one projected on the big screen.

Speaker 2 22:33

Tricia Leggett, as well as Michael Newens, and we are discussing what lies beneath. Are you enjoying this podcast? Are you enjoying our dulcet tones? Please subscribe or follow us on all of your favorite podcast providers to get the new episodes as soon as we release them. Leave us a review to help our show reach that larger audience. The more people who like things that you like might see and also enjoy our dulcet tones. You can also follow Imbibe Cinema on Facebook, Instagram, Threads, and Letterboxd. Please let us know what you think about psychological thrillers or horror genre. We'd love to hear your thoughts on Harrison Ford being a bad guy. Look for the link in our show notes and send us a text or leave us a voicemail, and we'll make some time after the break in our next episode to discuss.

Speaker 4 23:25

So, hi, this is Ann. Al and I just watched Book Smart. What a great movie. Thanks for the recommendation.

Speaker 23:34

Oh yay! It was a great film. Oh, yeah. I love Book Smart. I'm so glad that we did uh a little uh remastered rerun of that. Yes. And clearly it gained some traction.

Speaker 2 23:46

Love it. Mm-hmm. All right. Trisha, you you had a question you wanted to pose.

Speaker 4 23:52

Yes.

Favorite Ghost Story Movie Picks

Speaker 4 23:53

So I proposed that we all share our favorite ghost story movies. And mind you, in case anyone doesn't know, we are not scary movie people.

Speaker 24:07

We have very active imaginations. Imaginations.

Speaker 4 24:09

I've always been into ghost stories. However, I have parameters. The ones that I enjoy, the ghost has a motive. They have a purpose. Whether it be good or bad, it is a human motivation. It isn't just like a monster. There has to be a reason. And the ghost is trying to achieve that end.

Speaker 2 24:32

Okay. We'll see.

Speaker 4 24:33

But I'm just asking for you to share your favorite now with that disclaimer. I'm that's that's my world. But yes, please share your favorite ghost movies.

Speaker 24:45

Should we alternate? Sure. All right. I'll go first. Sure. Oh, gidokie. I'm gonna start with probably one of my favorites, and I don't really entirely know why. Stir of Echoes.

Speaker 4 24:59

Oh, it's good. And it came out the same year the Sixth Sense did. It was just overshadowed. Yes. Kevin Bacon.

Speaker 2 25:06

Katherine Irby.

Speaker 25:06

Yeah, from uh Law Norda. How about you?

Speaker 2 25:09

At least the first one that I would want to go with is Frighteners.

Speaker 25:13

Oh, great one. I didn't have that on my list.

Speaker 2 25:15

How did you not have that on your list?

Speaker 4 25:17

They are both amazing films.

Speaker 2 25:19

Frighteners is so Frighteners is so good. It's also Zemecus. It is funny but terrifying. It is a good ghost story. Yeah.

Speaker 25:28

That should be on a future season list.

Speaker 4 25:30

I accept your terms. I love that play. Yes. I'm gonna go with sentimental. This is one of my first favorite ghost stories when I was a kid. Love this movie. Topper. Oh! Yeah, that's fair. Topper is very old. Topper is 1937. It stars Cary Grant and Constance Bennett, and they are these delightful people who get in a car accident in the beginning of the film. And then they haunt Roland Young, character actor that you probably would recognize if you've seen enough older movies. But yeah, he is this mousy man whose wife walks all over him. And then all of a sudden he has this loud dead couple just tormenting him. And it is so, so good. I highly recommend it is an oldie but a goodie. And if you like Topper, then there is good news for you, a sequel. Topper returns.

Speaker 26:28

Yay! We did it. We did it. We found our ghost stories.

Speaker 4 26:32

Well, audience, if there's a movie that we didn't mention that you're like, this deserves some praise, or I need to vent about how this screwed me up, please share.

Speaker 2 26:42

What lies beneath, and I I know it's going kind of going back to like the cinematography and and and whatnot, but Trisha lovingly pointed out the the face at the very end.

Speaker 26:52

Oh, yeah. Did you catch the face in the snow? Oh yes. I did.

Speaker 2 26:55

It's the very, very end right before the last thing before the credits roll.

Speaker 26:59

You're like, Yeah.

Speaker 2 27:00

It's just one of those things where the face and and whatnot is perpetually there. It's the thing that gives Harrison Ford a jump scare, is the fact that her face changes.

Speaker 4 27:11

Well, I like this point where he's like, You just lost your mind. You're trying to mess with me.

Speaker 2 27:16

Yep.

Speaker 4 27:17

It's a point where he's just like, Nope. I get it. Nope. Yep. There's a ghost.

Speaker 2 27:20

I I thought you knew what was going on and you were just playing me the entire time. And then I was like, oh.

Speaker 4 27:26

And yet, that does not stop him trying it again. Right? For having more than one person haunt him. That's true. And then how interesting it is that we end up where he dropped the body.

Speaker 3 27:38

Yep.

Speaker 4 27:39

And it's it really doesn't seem so contrived, even though it's like, well, how did we end up here? But then her taking him with. Oh yeah, he was stuck. He wasn't going anywhere. He was just gonna try and take her with him, which is the kind of guy he is.

Speaker 2 27:54

Aw, romance. Romance.

Speaker 4 27:57

No, I think he was only going to do that so that his reputation wouldn't be tarnished. Yeah. There's still like, oh no, tragic death. But if she survives, it'd be like, oh no, he was a murderer. Right. Trying to get out of your father's shadow there, huh? Wait, no.

Speaker 2 28:14

They're always so sensitive about that.

Speaker 4 28:16

And he plays that so quietly.

Speaker 2 28:18

Yeah.

Speaker 4 28:19

That constantly trying to get out of the shadows of his father and be and how incredibly insecure he is. Yes. And yet Harrison Ford doesn't like because there are many ways to play that. And I think we've all seen the more obnoxious way to do that. And he's so quiet about it. He like just shuts down every time. And then you're like, well, this guy's got a lot going on. He should be in the therapy.

Speaker 28:45

So one thing I'm not gonna do. Poking the bear. No,

Ratings Surprise And Final Takeaways

Speaker 28:48

we don't do that.

Speaker 2 28:48

But I do think it's important to note that this movie, The Rotten Tomato, and yeah, it is panned.

Speaker 28:57

I was really surprised by that.

Speaker 2 28:59

Yeah.

Speaker 4 29:00

Was that an initial release or since that was a good one?

Speaker 2 29:02

No, it's this current value. It is at a 49%. The only thing I I can say that bothered me was I was aware of the clock.

Speaker 29:16

And that was because you were like, I'm good, or because you were like, I don't want to be scared for another hour.

Speaker 2 29:22

Like it was one of those things where I'm like, how much more of this like goosebumps do I have to take? And I'm like, oh my.

Speaker 29:28

Is it a long runtime? No, it's only two hours, four minutes.

Speaker 2 29:31

Yeah. It was just one of those things where I was aware of the time. Of the time. I mean, it was a great movie. Highly recommend. I think this might have been my first screening, to be perfectly honest.

Speaker 29:43

That was going to be my question right before we started. And I was like, oh no, no, no, I'll wait. Yeah. But then when you started talking about it, I was like, yeah, this is the first time you saw it.

Speaker 2 29:51

Well, we greatly appreciate our listeners for choosing this podcast, supporting Independent Films and the Blue Whiskey Independent Film Festival. I'm Jonathan Sea Lik, and thanks for imbibing with us. Cheers.