January 27, 2025 • 55 mins
Mike and Kelsey go through all of the Oscar nominations. Mike gives his predictions on who will win, surprises, snubs and he officially endorses a film for Best Picture. In the Movie Review, Mike keeps it in the Oscars theme and talks about The Brutalist starring Adrien Brody. Escaping postwar Europe, a visionary architect comes to America to rebuild his life, his career, and his marriage. On his own in a strange new country, he settles in Pennsylvania, where a wealthy and prominent industrialist recognises his talent. Was it worth the 3 and a half hour runtime, does the use of AI hurt its chances to win?, how 35mm made it better and why he ended up loving the 15 minute intermission. In the Trailer Park, Mike talks about the horror comedy The Monkey based on the 1980 short story "The Monkey" by Stephen King. After stumbling upon their father's vintage toy monkey in the attic, twin brothers Hal and Bill witness a string of horrifying deaths unfolding around them.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hello, Hello, Welcome back to Movie Mike's Movie Podcast. I
am your host, Movie Mike, joined by my wife and
cost Kelsey. How are you? Oh your Mike's not on?
How are you again?
Speaker 2 (00:08):
I'm tired.
Speaker 1 (00:08):
Sorry Mike wasn't on. It's on now. We have a
lot to get to. We're gonna talk about the OSCAR nominations.
I'll give my prediction movie review. We're talked about The Brutalist,
and in the trailer park a new horror kind of
comedy movie called The Monkey. Like I said, a lot
to get to. Oh you're here, all right? Ready to go?
Ready to go.
Speaker 2 (00:26):
We should not be recording this in the evening. I
do not have that kind of energy.
Speaker 1 (00:29):
We'll explain that in a second. Thank you for being subscribed.
Chaut to the Monday Morning Movie Crew. And now let's
talk movies from the Diastrolle podcast network. In cases Movie
Mike Movie Podcast. I'm a little hyped up. It is
the ninety seventh Oscar Academy Awards. So far, the only
thing that's been delayed is the nominations. They came out
(00:50):
a little bit later because of the LA wildfires, but
they're still set to go down Sunday, March second, Conan
O'Brien is hosting their host before No, okay, they're on
AB see. I always love the Oscars no matter what
movies are nominated, it just feels like a special event.
To me.
Speaker 2 (01:05):
It's your super Bowl.
Speaker 1 (01:07):
The super Bowl is also my super Bowl.
Speaker 2 (01:08):
But realized that as I said it.
Speaker 1 (01:10):
But yes, it also it feels like that level of
event to me. To most people, they say, I haven't
seen a lot of these movies nominated, why would I care?
And those are the same people who say that everything's
a rebate rebate You remember get having ascend in rebates,
everything is a reboot.
Speaker 2 (01:26):
I would love a rebate right now.
Speaker 1 (01:27):
Or everything is a sequel, so you can't say both things.
Speaker 2 (01:30):
What's harder now is that like they don't come out
just in theaters, like some of them are only indie theaters.
I would agree with that, Like it's very hard to
keep track of where to watch all of the Best
Picture nominees.
Speaker 1 (01:41):
And sometimes you can only watch them at home. Yet
the renom and it's the twenty bucks price. That is
the thing I wish would happen, and I know it's
all they try to get it into a certain window.
Some of these are from smaller studios, so they don't
have wide releases. But I wish by the time the
nominations came out they were available to watch either on
the streaming service or you could rent them for the
normal four to six bucks.
Speaker 2 (02:01):
I'm not renting a movie for twenty dollars.
Speaker 1 (02:03):
Yeah, that just feels like I need to go experience
it for twenty bucks. But for some people they'll do that.
But let's get right into it. You'll read the nominees.
I'll give you to crack your neck.
Speaker 2 (02:14):
Did that come through on those Oh?
Speaker 1 (02:15):
It came through.
Speaker 2 (02:16):
I realized that as I did it. I boxed tonight
and my shoulders are sore because it was upper body
day and my neck and my shoulders are really tight.
So apologies a little asmr there.
Speaker 1 (02:28):
But you'll go read the category, read the nominees, and
I'll predict who is gonna win. We'll talk about surprises
and snubs. Kick it off with the first category.
Speaker 2 (02:37):
We have best Picture.
Speaker 1 (02:38):
Oh, the big Daddy.
Speaker 2 (02:39):
Please never say that again.
Speaker 1 (02:40):
It's the big Daddy category.
Speaker 2 (02:42):
I don't like that.
Speaker 1 (02:43):
Okay, the big one.
Speaker 2 (02:44):
Are you done?
Speaker 1 (02:45):
Yes, I've done? Now go ahead.
Speaker 2 (02:47):
We have a Noor, Wicked Conclave, Amelia Perez, Dune Part two,
The Brutalist, The Substance, A complete unknown. I'm still here
in Nickel Boys.
Speaker 1 (02:58):
The surprise here, I think is Amelia Perez, just because
I feel overall it has the most nominations. And I
watched that movie and I just didn't quite see what
made that movie Best Picture worthy.
Speaker 2 (03:10):
And I seeing clips on TikTok and that was I've
seen what I need to do.
Speaker 1 (03:13):
I will say the clips make it seem worse than
it is. The way I was exposed to it first
was everybody calling out Selena Gomez for her Spanish. It
was Henny Dibez, who is a great Mexican actor, one
of my mom's favorite actors, and he was basically saying
that they should have had somebody who had more authentic
Spanish speaking. I didn't think it was that distracting. The
problem was that she speaks such good English that the
(03:36):
going back and forth between English and Spanish is very jarring.
I feel like to do that role you almost have
to play it a little bit closer because the character
is supposed to be fluent in Spanish from Mexico and
then also knows English but her English is way too perfect,
almost like California English that I mean Selena Gomez speaks. Now. Yeah,
it was also hard for me to root for her,
(03:57):
the main character who was a bad person, because what
that movie is about, it's a drug lord, cartel leader
who wants to change their entire life, change their gender,
and then kind of it's like, can you change who
you are with? It was hard for me to see
past the awful things that they did. And I think
(04:20):
it's because my parents are from Mexico. Every time they
go down there, their biggest fear is running into the cartel,
and I know how much that traumatizes people. It was
hard for me to have any sympathy towards that kind
of character. And I know the whole thing is supposed
to be redemption and she's doing good things later in life,
but if you look back on the things that not
just her character particular, but anybody in the cartel does,
it's like, is that forgivable?
Speaker 2 (04:41):
I wouldn't say it is forgivable, but is there a
way to move forward and be grateful that they're no
longer doing those things and doing good things now? Because
the other path is just keep doing bad things true,
I'm just playing devil's advocate here.
Speaker 1 (04:54):
That was hard for me. Aside from that, I thought
it was a pretty decent movie except for the singing.
That's the part that it was just like this. If
it didn't have that in there, it would be a
much stronger movie, and maybe it would have moved me
a little bit more. Maybe I would have felt a
little bit more for the character. But it was all
the musical aspects that I thought, they're only putting this
in to make it feel different, because aside from that,
I don't know if it would have stood out as much.
(05:15):
So that is what I feel like is the surprise here.
Even though it had the most nominations, I think the
winner here, I'm gonna go with the movie. I'm finally
gonna endorse. I'm going with The Substance. I love that movie,
and for a category that doesn't have one movie that
as soon as we watched it, I thought that was
Best Picture worthy. The only movie I even mentioned that
(05:37):
in the review was when I first reviewed The Substance
back opening weekend. So that is what I'm going with
the winner here. I'm going with my heart. The snubs,
no challengers.
Speaker 2 (05:46):
It was pretty surprising.
Speaker 1 (05:47):
I thought overall Challengers would have had at least one
or two nomination, especially in Best Picture. I thought that
was a snub. A Real Pain didn't get a nomination
for Best Picture. That was my second pick to win.
I said, I want it to be the substance, and
if the substance doesn't win, I want it to be
a real pain. But now a real pain is not
even nominated. I also thought maybe d D would get nominated.
Speaker 2 (06:08):
So can I add a snub?
Speaker 1 (06:10):
Yeah?
Speaker 2 (06:10):
Sing Sing?
Speaker 1 (06:11):
Oh, yes, Sing Sing is not Best Picture. And there
are a lot of movies on here. That's one, two, three, four, five, six, seven, eight, nine,
ten movies. Yeah, I would have probably taken out a
complete unknown.
Speaker 2 (06:22):
I think i'd have taken out Dune Part two, Dune
Parts I like to call it News Part two.
Speaker 1 (06:26):
Timothy Shalloway again. Yeah, it's rare for also sequels to
get nominated. I would have taken down both of the
Timothy Shallowy movies. Sorry, Tommy, put Sing Sing and put
Challengers in there, just because I think those will be
more definitive For twenty twenty four, next category.
Speaker 2 (06:40):
Best Actor in a Leading Role. If Adrian Brody, the
Brutalist Coleman Domingo sing Sing, Ray Fines Conklive, Timothy Chalomy
and a complete unknown and Sebastian Stan and The Apprentice going.
Speaker 1 (06:53):
Through some surprises here. I'm surprised Sebastian Stan got a
nomination surprise snub. I would say Denzel for Glady, but
can you just get nominated for being Denzel? I thought
his performance was the best character in that movie.
Speaker 2 (07:06):
They should just have like the Denzel a War, but
I don't think it.
Speaker 1 (07:10):
Was best actor worthy. Now I'm gonna do process of
elimination here on who I think is gonna win. I
think you take out Timothy Chalamey and Sebastian Stan. Timothy
Schallamey was good as Bob Dylan, but there were times
where I felt his performance was a little bit weak,
and Timothy Shallo May kind of shined through.
Speaker 2 (07:26):
It's very meta. It was like Timothy Schallamey being Timothy Shallamey,
and I.
Speaker 1 (07:30):
Could see that in there, and I think in a
great bio pick, you should not see that at all.
You should only see that character. So for that reason,
I don't think he deserves it.
Speaker 2 (07:37):
I didn't go full Austin Butler.
Speaker 1 (07:39):
Yeah, he didn't fully embrace it, live in it for
that long. Sebastian stan I'm surprised he's even in the category.
I'm taking him off. Ray Fines was great in Conclave,
great and everything he's he has such range. I mean,
he can do Voltimore and he can do Conclave. His
performance was so powerful in this movie, and I found
myself really enjoying it. But I don't think wins.
Speaker 2 (08:00):
Can I make a comparison there? He goes from the
dark lord to a man of the Lord.
Speaker 1 (08:03):
That is true. I didn't even think about that.
Speaker 2 (08:06):
Thank you was real singer.
Speaker 1 (08:07):
And then Covid Domingo is the one I want to win.
I love.
Speaker 2 (08:13):
Bad I am such a fan of his.
Speaker 1 (08:16):
I can visualize him going up there and giving his speech.
I just love his voice. I could hear him just
he could read.
Speaker 2 (08:23):
The phone book and I'd be like, cool, let me listen.
Speaker 1 (08:24):
I would listen to his Chick fil a order. His
voice is just like But I think it's easily Adrian Brody,
probably just.
Speaker 2 (08:30):
Because the movies three and a half hours long. I
feel like that guarantees you it's historical.
Speaker 1 (08:36):
He's won in the past, and I feel like putting
him against all these other performances. He is going to win.
I think that is an easy call. I would put
money that gold gold. I would put money that Yeah
is going to take the gold home. That's what I'll
try to say.
Speaker 2 (08:52):
Adrian Brode, I said Brody, Oh, so like you put
a little emphasis on Adrian Brode.
Speaker 1 (08:57):
I do have a hard time spelling Adrian. Never want
to spell it the way he spells it.
Speaker 2 (09:02):
It's kind of like gray g r A y g
r U. I.
Speaker 1 (09:05):
But for Best Actor Leading Role, Adrian Brody.
Speaker 2 (09:08):
Next category, Best Actress in a Leading Role, we have
Mikey Madison, Honora, Cynthia Arrivo, Wicked, Demi Moore, The Substance,
Carla Sophia gascon For, Amilia Prez and Fernando Torres.
Speaker 1 (09:21):
I'm still here a couple first time nominees here. Demi Moore, I.
Speaker 2 (09:25):
Think it's to me?
Speaker 1 (09:27):
Is it to me?
Speaker 2 (09:27):
I think it's to me?
Speaker 1 (09:28):
It could be the right way to say. I've said
Demi Moore my entire life.
Speaker 2 (09:32):
I swear it was one of those where it was
like we've all been saying this wrong forever.
Speaker 1 (09:35):
Could be Demi miss Moore, Miss Moore. Her Golden Globe
win was the first award she'd ever won.
Speaker 2 (09:42):
That was shocking.
Speaker 1 (09:44):
That is wild to me.
Speaker 2 (09:45):
It's one of those where you're like, you're a household name,
how have you never won her award before?
Speaker 1 (09:50):
And her speech was great that a producer told her
that she was just a popcorn actress. She would never
win an award like that. She was on that stage
winning that award.
Speaker 2 (09:57):
I mean, the woman shaved her head for Gi Jane.
Speaker 1 (09:59):
Yeah, Fernanda Torre is also a first time nominee. My
surprises and snubs. No Zendaya for Challengers, you know know,
Nicole Kidman for Baby Girl.
Speaker 2 (10:08):
Also, I want to point out that Carlo Sophia Gascon
is the first ever openly transactress to be nominated for
an acting award.
Speaker 1 (10:15):
So who do I think is going to win here?
I think the fact that Cynthia Arrivo is nominated is
more of it's an honor to be nominated, even though
she did fantastic in that because if you think about
just the performance she gave compared to everybody else, the
acting and the singing both at a ten. But I
think Wicked is going to have a hard time winning
these awards just because it was so big. It was
(10:37):
so big, it had commercial success. It's sometimes hard for
those movies to win.
Speaker 2 (10:41):
Did Barbie win anything?
Speaker 1 (10:42):
I think for music, But as far when it came
to acting, yeah, and even direct Greta Gerwick should have won.
Speaker 2 (10:48):
Yeah.
Speaker 1 (10:49):
But when it comes to the big, bigger awards, it
is hard for those commercially successful movies to win, which
is another flaw in the system. I don't think Mikey
Madison is going to win. I'm going with Demi because
not only is she my favorite performance out of anybody here,
I think she put the most on the line in
that character was very vulnerable. It's also very much a
(11:11):
reflection of her career. That's what she said, Like, the
reason she took this movie is because she felt this
way that when she reached a certain age in her career,
she thought she was done and wasn't gonna work. And
that's what the substance is all about. She has her
fiftieth birthday, she gets fired from her job, and they
want to replace her with a newer, younger person. So
I'm going with Demi or Demi Moore. I think she
(11:32):
is gonna win for Best Actress.
Speaker 2 (11:34):
Next category, all right, we have best Actor in a
supporting role. We have Kieran Colkin a Real Pain, Edward
Norton a complete unknown guy, Pierce the Brutalist, you, Rob Borisov.
Speaker 1 (11:47):
Yeah right, Sarah.
Speaker 2 (11:48):
Apologies if I butcher in that. I do listen to
pronunciations before we do this, but there's some that are hard,
and I try Jeremy Strong the Apprentice.
Speaker 1 (11:55):
No real surprises or snubs here. I think the fact
that A Real Pain kind of has two supporting not
really one lead roles. I wouldn't know where to put
Jesse Eisenberg. Would you have been lead? I mean, because
they had like equal parts almost, but I think he
would have been lead. Okay then, so I don't even
think he's a snub here. I'm just putting all my
(12:16):
chips in the A Real Pain basket on this one.
I love Kieran Colkin. I said that after watching that
movie too. In my review of that I said he'll
probably win an Oscar for it. Out of anybody on
this list. He's just the most likable too, and I
love that movie so good, probably my second favorite out
of all of these nominated movies. So I'm gonna go
with Kieran Colkin. Best Actor in a supporting role.
Speaker 2 (12:37):
Next category, Zoe Saldania Amelia Perez as actress right, sorry, yes,
best actress in sporting role. Sorena Grande have two last names.
Speaker 1 (12:46):
That's what caught me off guard.
Speaker 2 (12:47):
I was like, who is that Ariana Grande Utera for Wicked.
Speaker 1 (12:52):
I never had that name attached to her ever before.
Speaker 2 (12:55):
Isabella Rossellini conclive, I like, how you put the pronunciation
for us Italian and Monica Barbaro for a complete unknown,
Felicity Jones for the Brutalist. Sorry, I should have said
an Felicity Jones. She was the last one.
Speaker 1 (13:10):
This is a tough one. The surprise and snub here,
I feel is no Margaret Quayley, who was also fantastic
in the substance for the Winner. I would love to
see Ariana Grande wind Uterra Tara because I found so
much joy in her character and the way she played it,
and I want.
Speaker 2 (13:29):
People to take her seriously as an actress. I feel
like this was kind of the role that people were like, oh, like,
she has some acting chops and she.
Speaker 1 (13:37):
Can sing really well, and to go from being on Nickelodeon,
and I just feel like that would be a cool moment.
I also think with the Oscars not really appealing to
younger people at all, ariana Grande winning an Oscar would
maybe get some people to care who don't normally care
about these awards.
Speaker 2 (13:56):
Do you think there's people that are just like, what
are the Oscars?
Speaker 1 (13:58):
Yeah? Oh yeah, but I think it's gonna be He's
always al Donna.
Speaker 2 (14:01):
They don't remember the great Oscar selfie of like two
thousand and something.
Speaker 1 (14:06):
Yeah, twenty sixteen.
Speaker 2 (14:08):
Or when like Jimmy Kimmel went into the theaters and
was like delivering pizza. Oh yeah, great Oscars moments.
Speaker 1 (14:13):
I'm going with its always all Donna.
Speaker 2 (14:15):
All right, Next category Director, we have Jacques Oudier for
Amelia Prez, Brady Corbett the Brutalist, Sean Baker Anorra, Edward
Berga for Conclave, James Mangold a complete Unknown, and Corley
Farge for The Substance.
Speaker 1 (14:33):
Surprised that Denieville Knew was not nominated for Best Director
here for Doune. He is one of those top tier
directors that just has a filmography that kind of warrants
that that whenever he puts out a movie, he's going
to get nominated. And I know you're not always a
shoe in, but he's on that same level of a
Quentin Tarantino, of a Christopher Nolan. That they make a
(14:55):
movie I think is nominated. That just happens. But he
wasn't nominated for Doune two. I don't think he was
nominated for Doune one either, And I saw a lot
of people who are involved in that movie, like Josh Brolin,
say like it's a travesty that he wasn't nominated. So
I was just surprised by that. Do you have any
snubs here?
Speaker 2 (15:12):
Yeah, John Cheu for Wicked.
Speaker 1 (15:14):
I think people forget how hard it is to make
a movie on that scale and.
Speaker 2 (15:19):
The fact that they did two parts. I saw someone
I think it was Kate Kennedy on Instagram. She said,
maybe he'll get it, like when Wicked Part two comes
out and the whole thing is complete, Like maybe they're waiting.
But I do think that's a snub because I think
to direct not only a movie, but a musical of
that caliber and where your actresses are doing everything live,
(15:39):
I think he totally should have been nominated, And I agree.
Speaker 1 (15:42):
With you, I think that is a snub. I also
think the director for Challengers should have been nominated here,
who I think is going to win and also who
I want to win. I'm going with Cora Lee Farjov
for the substance who is representing the women directors here,
which if you look at all the people nominated, is
she the only woman? Yeah, she's the only woman nominated.
Speaker 2 (16:05):
Seem men are surprised by this women or not, so
I yeah, But then it's like, is it gonna be
a Greta Gerwig? And like the woman's not gonna win.
Speaker 1 (16:12):
I think she has to win here just because I
really feel like watching that movie, it was all about
her vision because if you give this script to anybody else,
I don't know that they could execute it like she did.
And that of all of the styles of film in
this category, I think it is truly the most unique
(16:34):
and truly the most and biggest testament to the director,
and that's what this category should be. So I think
she's gonna win. I also think she would give a
fantastic award speech, and I always think about that. I
always think, like, who'd I want to see go up
there and accept the award because that's a big part
of it me because that's always my favorite thing to
go back and listen to all the all the speeches.
So that is my pick, substance director.
Speaker 2 (16:57):
All right, Next we have best cinematography. We have Maria
the Brutalist, your favorite one to say, Amelia Prez and
Done two.
Speaker 1 (17:07):
Dune two is probably the easy pick here because it
is very visually interesting despite it not being as exciting
as we hoped it would be. It's pretty snoozy Dune two.
Dune one was totally snoozy. Doune two had more action,
but overall, I still feel like it was very slow paced,
but turns on.
Speaker 2 (17:28):
I'm just not a Duton girl.
Speaker 1 (17:29):
I'm not really either, and I'm a nerd. I should
be loving Dune. Most nerds love it. But visually, I
think is where this movie really stands apart from all
these other movies. So you would say that it would
be an easy win for Best Cinematography, but I think
it's going in because it has like these very iconic
old horror movie images that I feel were more cinematic
(17:52):
than anything that Done two did. That they almost look
these little paintings that they did that even though it's
a horror movie, I feel it deserves to win more
than a big sci fi movie. Even though it feels
like a smaller scale, I just feel like the cinematography
is more artistic. So I'm going with al Right, next category.
Speaker 2 (18:12):
You have Best International Feature Film Flow, I'm still here
Amelia Perez, The Seed of the Sacred fig and The
Girl with the Needle.
Speaker 1 (18:22):
I think it goes to Amelia Perez, and with that
movie having the most nominations, I feel like it'll at
least come away with one. If it does end up
losing here, I think it's going to show you that
just because you get a lot of nominations doesn't mean
you get a lot of wins. Last year, Killers of
the Flower Moon I think had ten nominations. It was
(18:42):
like the third most. It won zero.
Speaker 2 (18:44):
Yeah, that was a snub. Not over that one.
Speaker 1 (18:47):
That was a big snub.
Speaker 2 (18:48):
Lily Gladstone deserved to win, honestly, could have been Best Picture.
Speaker 1 (18:52):
But I think when you see like how many nominations
a movie gets, you think, oh, that has to be
an easy win. Sometimes you just don't win any So
I think the category the movie does have the best
chance to win here is here, So I'm going with
that as the winner.
Speaker 2 (19:07):
Next up, Best Animated Feature Film, Flow Inside Out too,
The Wild Robot, Memoir of a Snail, and Wallace and
Grammat Vengeance Most Foul.
Speaker 1 (19:16):
Oh, I love that movie. I like the Walles and
Grammed movies.
Speaker 2 (19:23):
I'm not really big into clamation oh.
Speaker 1 (19:24):
I love Claymation.
Speaker 2 (19:26):
I like to Chicken Run.
Speaker 1 (19:27):
I love Donn and the Nugget. I think there's just
something What is Down of the Nugget is one of
the spin off same creator interesting.
Speaker 2 (19:36):
I must miss that one.
Speaker 1 (19:38):
I just love the style of animation, the fact that,
I mean it's truly just taking an object moving a
little bit, taking a picture moving. It just something tangible
in film. It's just still exciting to me because I'm
a big fan of like practical effects. So the fact
that they can still make movies like this and they
get nominated for awards and they still do pretty well
on Netflix, they're still making them. Wallace and Grammat the
(19:59):
Franchise is a six time OSCAR nominee. That's wild So
I enjoyed it, but I don't think that one is
going to win. I am really excited that The Wild
Robot got nominated.
Speaker 2 (20:09):
I loved that movie.
Speaker 1 (20:11):
It is my favorite. I wanted to win again. I
think it's that commercial success, which I would love it
for Chris Sanders. I would love it for Maren Morris,
who was a part of this movie. Inside Out too,
I think is kind of the we'll give this to
you nomination. It was really good. It's the highest grossing
movie of the year last year.
Speaker 2 (20:28):
Yeah, but I don't know if it was Oscar level.
Speaker 1 (20:32):
Yeah. And the only sequel in the Disney Pixar franchise
that I believe deserved to win was Toy Story three.
I don't think Inside Out two is on that level.
I'm gonna go with Flow here, but I would love
for the Wild Robot to win.
Speaker 2 (20:47):
I would love for that to be like surprise. Yeah,
I would love to be for you to be wrong.
Speaker 1 (20:52):
I would love to be wrong on this one, dude.
Speaker 2 (20:53):
Next up, Best Original Song el Mal from Amelia Prez,
The Journey from the six Triple Eight, Like a Bird
from Sing Sing, Mikamino from Amelia Perez, and Never Too
Late from Elton John Never Too Late.
Speaker 1 (21:07):
I always find it wild when two things from the
same movie get nominated in the same category, because I
feel it splits the vote.
Speaker 2 (21:15):
I just feel like it's kind of cheating, Like that
is kind of cheating.
Speaker 1 (21:17):
They did the same thing in The Golden Globes and
that song still won, and Model still won. The me Camino.
I think that's the Selina Gomez one. Yeah, the Amot
I think that's the one that you saw a clip
up and said, this is terrible.
Speaker 2 (21:29):
I don't want to talk about that clip.
Speaker 1 (21:31):
But I just can't pull for those songs because I
didn't like any of the music from that movie. So
even though I think it'll probably win again here, I'm
gonna go with Like a Bird from Sing Sing because
I want to see that movie win an award.
Speaker 2 (21:43):
I want that movie to have success.
Speaker 1 (21:45):
And that song had like that level of power to
that movie. It added that level of power where that
movie is very you think it's gonna be a little
bit more gritty because it is like a prison movie.
Speaker 2 (22:00):
I thought it was gonna be totally different.
Speaker 1 (22:02):
And I thought there was gonna be a lot of
tension in it. But it's a surprisingly really warm and
soft inviting story a lot about these people in prison,
and I think that Like a Bird song is kind
of representative of that of It's also like a slower, sweeter,
tender song, but has like a slight little bit of
edge to it because it is a prison movie. So
(22:25):
I want that movie to win more awards again. I
would love Coleman Domingo to win. I hope they at
least get this one. I'm going with like a Bird
from Sing Sing all Right.
Speaker 2 (22:33):
Next, Best Original Score Conclave, Amelia Prez, The Brutalist, The
Wild Robot, and Wicked.
Speaker 1 (22:40):
I think this one is easily Conclave. Whenever I first
made my notes after watching that movie, I said it
had a fantastic score because it's so driving and it
makes it feel like a horror movie. That movie, in
no way is a horror movie, but it almost adds
like this level of tension that's like driving the entire time.
Dunt very cinematic, a lot of strings, and it just
(23:05):
feels chilling the entire time. And that definitely took that
movie up a level.
Speaker 2 (23:09):
The addition of strings does make something feel a little
It makes it more like everywhere on my arm stands up.
Speaker 1 (23:14):
And there's a lot of tension in that movie. There's
a lot of confrontation, and the score adds to that.
Wild Robot has a good score, but I think the
actual song I don't really consider the songs with lyrics
a part of the score, Like, I feel like that's
part of the soundtrack. So I feel like the score
in the Wild Robot is in a strong same thing
(23:35):
with Wicked, Like do you consider the songs a part
of the score. I don't. I don't feel like that's
the same thing. Like the score to me is like
the instrumentation. And I think even when they play it
in the categories the nominees, I don't think they put
anything with lyrics because that would be a Best Original Song, right.
Speaker 2 (23:50):
I honestly don't know that I've ever thought about.
Speaker 1 (23:52):
That because when I think a score, I just think
instrumental music, and there is obviously a score behind everything
in Wick, but I don't feel like that's as prevalent
as the actual song. So I feel like in this
category I would be voting for the songs, but when
I really didn't think the score itself was that impactful. Yeah,
so I'm going easily with Conclave and we only have
(24:15):
a few categories left. What do we got?
Speaker 2 (24:16):
But we gotta talk about the snub for the score.
Speaker 1 (24:19):
Oh yeah, no, challengers, it won the Golden Globe.
Speaker 2 (24:22):
I mean that score alone, that one song, Like, yeah.
Speaker 1 (24:27):
You talk about adding tension to a scene.
Speaker 2 (24:30):
Surprise snub both I bet.
Speaker 1 (24:31):
Trent Reznor is rolling around and his millions of dollars, Like, ah,
I didn't get the Oscar nomination.
Speaker 2 (24:37):
All right. Next we have best makeup and hairstyling the
substance Wicked Amelia Perez a different man and.
Speaker 1 (24:46):
Did have some a lot of crazy makeup and hairstyling.
Speaker 2 (24:49):
A different man.
Speaker 1 (24:50):
Yeah, different mandang. They all have some pretty hardcore makeup
and hairstyling. And then you think about Wicked Cynthia Reo
having to be green for so long.
Speaker 2 (24:59):
And like she would have to there's days where like
just her face would be green, her whole body just
to face in her hands.
Speaker 1 (25:06):
Yeah, you do you account for how many hours the
person had to be in hair and makeup. Oh, that's
a tough one. Also the fact that they were able
to do all the same things basically all the same
things they did from the Wizard of Oz, but nobody
got sick or hurt, yeah, or health issues from the
makeup and hair. I'm going with the substance just because
(25:28):
Demi Moore takes on a crazy transformation in that the
entire third act of hair and makeup is wild. Also,
how much they transformed Margaret Quayley in that movie. Even
she talked about the prosthetics they used on her.
Speaker 2 (25:44):
Oh yeah, she talked about in her chest.
Speaker 1 (25:46):
Yeah. I think that is wild. I'm going to go
with the substance.
Speaker 2 (25:50):
All right, best costume design kick us off. I also
just want people to be as annoyed as I've been
for the past month listening to you say that Wicked
Gladiator too a complete unknown in conclave.
Speaker 1 (26:03):
I'm gonna give this one of the Wicked.
Speaker 2 (26:05):
Cast, I think so.
Speaker 1 (26:06):
I think those costumes were the most extravagant. No, Swaratu
also had some Like anytime you do a period piece,
a lot goes into that wardrobe. Sometimes when I think
best costume design, I always think anything old is gonna win,
just because it feels like they had to make every
single piece of clothing, because you're not gonna go out
(26:28):
and find those you have the tailor everything. Gladiator two
not really anything crazy going on there.
Speaker 2 (26:35):
The shock for me is a complete unknown. I'm sorry.
Go to every vintage store in New York and you
just found Bob Dylan's wardrobe.
Speaker 1 (26:42):
Bob Dylan doesn't really wear any extravagant like on stage
things like you would for like Elton John or the
Bohemian Rhap City movie. Yeah, yeah, that did Wild Why
did that sneak in there? And then Conclave, I mean, yeah,
it's it's an interesting costume, but I don't feel like
that's worthy of an Oscar. So I'm go Wicked. I
want Wicked to win here.
Speaker 2 (27:01):
Yeah, all right? Best Visual Effects doing part two Kingdom
of the Planet of the Apes, Alien Romulus, Better Man
and Wicked.
Speaker 1 (27:10):
This is where dude gets it. They get the Visual
Effects Award. We're doing part two next up. You're like,
like ether Win, I would have wanted and Your Mind
Dead pull Wolverine. And there was some sus CD I
in that there.
Speaker 2 (27:23):
Was I all right. Best Adapted Screenplay a complete Unknown,
Conclave Amelia Perez Nickel Boys, and Sing Sing.
Speaker 1 (27:34):
This is essentially they take like a book or a
story and turn it into a movie. I'm going with
Sing Sing Yeah.
Speaker 2 (27:39):
I'm also kind of surprised Wicked wasn't though, Oh yeah,
because it is a book. But I mean I want
Sing Sing to win.
Speaker 1 (27:45):
Yeah. I'm going with Sing Sing here, all right.
Speaker 2 (27:47):
And then final one is Best Original Screenplay anor the
Brutal Brutalist, a real pain. September five is September five,
September five, okay, and the substance.
Speaker 1 (27:58):
I think this is where Jesse Eisenberg gets his Oscar.
I want to see him go once the agent accept this.
I think he wrote the best original screenplay, just straight up.
Speaker 2 (28:07):
Yeah.
Speaker 1 (28:07):
That entire movie is all based on the screenplay, Like
the writing in that the dialogue, all of the layers
of that story is all on the page, and you
can feel it while watching that movie. It's also the
execution of them as actors and him directing. But I
think the true heart of that movie is the screenplay.
So I'm going with a real pain to recap here
(28:27):
most nominations. Amelia Perez has thirteen, Wicked has ten, The
Brutalist has ten as well. Complete Unknown has eight. I
feel like they're gonna come home the most empty handed.
I feel like it was kind of Oscar bait Timothy
Chalomay's performance in that it just felt very Oscar baby
to me. Even the time it came out. That was
(28:48):
them saying we want this movie to be considered. I
enjoyed it, but I don't think it's at the level
of winning. An Oscar Conclave has eight. Ho Nora has six.
I don't think of Noora is gonna win a whole lot.
Doune Part two has five. The Substance has five, not
as many as some of the top ones, but I
think if it can win the big ones, that's all
that matters. Has four.
Speaker 2 (29:12):
So overall, everyone's got time to make their scorecards.
Speaker 1 (29:15):
Yeah, see what you want to win. We'll look back
and see what I got right, what I got wrong.
Speaker 2 (29:21):
Oh yeah, I don't agree with all of these, which
didn't have time to go through my opinions. This isn't
the Kelsey Podcast.
Speaker 1 (29:26):
What do you have for Best Picture?
Speaker 2 (29:28):
I mean, I almost kind of feel like the Brutalists
might take it, but I could see the Substance winning.
I mean, I'm just kind of going for what I want.
Like I'd love Coleman Domingo to win. Best Actor, I
would love I would love Demeanmoor, but I would also
love Cynthia Reville. That's a hard one. Best Actor. I
agree with you, Kieren Colkin Best Actress. I'm gonna go
(29:48):
Ariana Grande debut Tara Best Director. I do think I
agree with you. Brady Corbett one the Golden Globe, though
I think those are the only ones that I really
disagreed with, and it's more like wishful thinking.
Speaker 1 (30:02):
All right, well, those are the nominees again. Oscars are
going down on Sunday, March second, unless they delay.
Speaker 2 (30:09):
It cleary calendars.
Speaker 1 (30:10):
I will be there. I'll wear my tex You will
not be there, oh man, I'll be there on my
couch watching it with my tuxedo hoodie.
Speaker 2 (30:18):
We gotta hear it about, honey.
Speaker 1 (30:20):
I know it's a tradition. I wear it every single year.
Speaker 2 (30:22):
Better days.
Speaker 1 (30:24):
We'll come back and I'll give my thoughts on the Brutalists,
which we've been talking about here.
Speaker 2 (30:28):
We've talked about it a lot.
Speaker 1 (30:33):
Let's get into it now. A spoiler free movie review
of The Brutalist Nominated for Best Picture, Adrian and Brody
is up for Best Actor. The director, Brady Corbet is
up for Best Director. The question I think most people
want to know is this movie worth three and a
half hours. It's a long one. I think up to
date it is the longest movie I've ever seen in theaters.
(30:55):
I don't mind a three hour movie if a director
and a story is big enough and warrants that runtime,
and I'm able to go and enjoy it and not
even think about it. I am all for it. I'll
kill an afternoon enjoying a great movie if it's truly
a story that required it. And I think that is
a big question. Once you get to that three hour mark.
You have to have a reason to keep people there
(31:16):
that long. When it comes to the brutalist, I actually
think it was worth that three and a half hour runtime.
I found myself at the end saying I want a
little bit more. I don't know exactly why I want more,
but the way the story unfolded, I found myself fully
enjoying it. I'll get into how I felt about the
(31:37):
intermission because I've never seen a movie this long. I've
never even seen a movie with an intermission like this.
But what the movie is about. You have Adrian Brody
who is a Holocaust survivor. Even though they don't really
get into that a whole lot, it's almost just implied.
Unless I missed it, there wasn't an explicit part where
he talked about being a Holocaust survivor, but the movie
(32:01):
takes place shortly after the Holocaust. His character is named Loslow.
He is this really smart, brilliant architect, smart brilliant kind
of the same thing, but he has to escape his
home country, moved to the United States, moves to Philadelphia
to go work for his cousin in a furniture store,
and he is an immigrant trying to restart his life
(32:22):
in a country that doesn't really want him. So he
is having to start all over, which I thought was
an entirely different immigrant story that I'm kind of used
to you. I have parents who are both from Mexico.
They came from nothing, so when they got here without anything,
it wasn't as big of a culture shock for them
(32:43):
because coming to the United States for them was their
ticket to a better life. They went being able to
work in fields in Mexico and not make anything, and
here the American dream, they could put in that same effort,
put in that same work, and now they could start
building towards something. When it comes to Adrian Brodie's character.
In his country, he was this really renowned architect who
(33:05):
was celebrated for his work, created these amazing structures that
were modern ahead of its time. But suddenly he gets
to the United States and he has to start all over.
He is living in a shelter, he is trying just
to make enough money for food, has no place to stay.
He also struggles with addiction, which was an underlying theme
(33:29):
of the entire movie. I thought that was kind of
going to be the focus of it, of him trying
to be an architect but dealing with drug issues. That
was kind of the thing about this movie is there's
not this one big exposition. Even after the movie, when
I did feel I wanted more, I found myself wondering why.
I found myself saying what exactly was the purpose of
(33:51):
this movie? What exactly were they trying to say? And
I've been spending some time now after watching it, going
back and putting the pieces together. So I will say
I think this will be a hard movie for me
to recommend to people one because of that runtime, even
though I feel it does warrant it. There's nothing crazy
that happens that you're following the entire time, like this
(34:13):
happens to him, and then he has to do this,
and then he has to do this, And there's not
a whole lot of crazy action. It is a very
large scale drama that unfolds very subtly, and it's a
really big, deep dive into this character learning all of
his flaws and all the things that make him great,
the reasons why he has tortured, the overall perils and
(34:35):
dark side of chasing that American dream and coming to
this country and realizing you can't trust everybody, which I
think is something I learned from my parents. Sometimes people
would take advantage of them. They would either go try
to find a job, or somebody would say, hey, come
work for me. They're working for him, and then they
screw them. So there's a hard thing for people who
(34:57):
come here of just knowing who to trust. How was
the other part of this story is you find yourself
thinking did this actually happen? Was this actually a real person?
And it's actually not. It's a fictional story, not based
on a real person. Although some historical events obviously like
the Holocaust and other elements of this story actually did happen.
I found myself even wondering what does the title mean
(35:20):
when it's the Brutalist. When I heard that title, I
thought it meant he was going to face I don't know,
maybe get beaten up or maybe something hardcore. The brutalist
is actually a reference to an architecture style called brutalism,
which is something that he was known for. It is
a French phrase. I'm going to butcher this, but it's
(35:40):
called bitone brute, which means raw concrete. He was all
about the raw concrete. I actually think the design looks fantastic.
At that time in the forties and fifties, I have
to imagine it looked way ahead of its time. I
feel even now it still looks pretty modern. And this
entire movie is him just trying to build something. So
(36:03):
that's why I say it's a hard movie to recommend
because I don't even think it's a slow burn, because
sometimes a slow burn indicates that eventually it ramps up
to a lot of action. It is just about the
journey of this movie. They even make a reference in
a quote in this movie that I love that sometimes
it's not about the journey, it is about the destination,
(36:26):
which I feel is almost the reverse of explaining this movie,
because it is kind of that journey that you go
through with this character, and it's not so much about
where you find yourself at the end. I don't even
think that is fully important, and I think to some
people that may kind of piss you off, and you
get to the end and think, what did I watch,
but I found myself enjoying the director's ability to really
(36:51):
flesh out and understand all the inner workings of this character.
And I think that is what makes this movie compelling,
that I felt like I was there with him, and
there are some movies you watch where they don't feel
like movies at all. I felt like I was in
this world like I was in the nineteen forties. In
(37:11):
the nineteen fifties. Maybe it has to do with the
way this movie was filmed, the cinematography, some of the shots.
It felt very intimate. There were moments where I felt
like I shouldn't be there watching it, and I think
with that type of storytelling, that is really what made
it feel like it was worthy of that three plus
hour runtime because you kind of just let it steep
(37:33):
in and enjoy it. The dialogue is really important throughout
this entire movie, so it is when you have to
pay attention to because if you miss something, then you
might miss a pretty big plot point. And I think
that is why I really enjoyed the fact that this
movie had a fifteen minute intermission, which I hadn't experienced before.
I had a little bit of hesitation going into it
(37:54):
because the movie is listed at three hours and thirty
five minutes. I thought it was gonna be a fifteen
minut intermission. On top of that, I'm like, that's almost
four hours right there, not including the ten to fifteen
minutes of previews. How it actually broke down is the
intermission hit around an hour and forty minutes. There's a
fifteen minute intermission, came back for another hour and twenty
(38:18):
eight minutes, and then after that there is a six
minute epilogue, which is really quick. I thought that was
going to be longer. So you get about three hours
and fourteen minutes of film fifteen minute intermission, so you're
there for a total about three hours and thirty minutes
unless you stay around for credits. And I really feel
like having that fifteen minute intermission really made it easier
(38:38):
to take in because I've gone through these long movies before,
and it was the ability to get up, go to
the lobby, grab a drink. We saw it at the
Bell Court. I got me a lemon lacroix, went to
the bathroom and came back and I had about four
minutes left until the movie started again, So it was
kind of a good reset, I thought, I wasn't going
to enjoy that because I don't really like to stop
(38:59):
them on mentum once I'm at a movie and I'm
fully in the story. But I think, given that there
wasn't anything high paced or crazy amount of action in
this movie, that I like the break to be able
to reset my brain, go do what I need to do,
walk around a little bit if I need to come
back and sit for the rest of the movie. I
(39:20):
actually found myself enjoying it. I would not be opposed
to going to see another movie with a fifteen minute intermission.
I think the other thing that has caused some controversy
with this movie, aside from the runtime, which I love,
the director defending that he was saying that theaters weren't
going to want to run it, But look at him
now with all these nominations, so I do credit him
(39:40):
for that. But I think some of the controversy has
come from the fact that it came out that they
use some AI to enhance Adrian Brody and Felicity Jones's
Hungarian accent. And I think when people read that headline
and hear that, you think that they used it the
entire time, and that they use it in a way.
(40:01):
That kind of diminishes the art because a lot of acting,
especially when you get a Best Actor nomination, is in
that performance. Can you do the accent? Can you portray
to the audience that you spend enough time understanding this
character in order to portray them on the big screen.
What they actually used was the AI voice cloning tool,
(40:22):
and they didn't use it the entire time. Instead, they
used it to tweak words here and there, because they
said it was a really difficult accent to do and
there were certain words they just wanted to fix. I
heard it at first, and I even had that reaction
like if you use AI like that kind of takes
away from the performance. But it sounds like they just
used it to tweak things here and there wasn't the
(40:42):
entire time. I actually think you so that is fine.
I've used something like that before. I've taken interviews sometimes
where you can't hear maybe somebody on zoom. They have
a response and a voice gets like that weird zoom
robotic sound. You could put it in AI transcribes it.
You can fix in one word, you can type it
out and it cloones their voice and it says it
(41:04):
and you can fix it, So it would be hypocritical
of me to say, like, now you can't use that
when I have used it before. I get it's different
between an interview and art, but I think especially in
movies like this, they don't have like a crazy budget
like an Avengers movie would. Sometimes you have to use
those resources, and you also think about things when it
(41:25):
comes to using movie magic. Nobody is saying anything about
James Gunn using CGI to make Superman fly like that
is cheating. That really doesn't take away from David krn
Sweat's performance as Superman. That is just movie magic. That's
what movies are, using special effects to make something seem
(41:46):
a little bit more real and realistic for us. I
ultimately think it comes down to how the audience interprets it.
If we start rejecting it in a way that it
gets so blatantly overused, they'll have to scale back. But
if they're using it to enhance things here and there,
to fix little tweaks, much like a photographer would use photoshop,
(42:07):
I still think that's art. Somebody takes a photo and
maybe there's some power lines in the back they want
to take out. They use an AI tool to clear
that out. Nobody says that that is less artistic because
they used AI to fix it. Right now, in this case,
I'm not against it. I don't think it takes away
from the fact that Adrian Brody was nominated and will
(42:30):
win for Best Actor. But will somebody eventually end up
abusing AI and making it seem less authentic. Yeah, that's
gonna happen to and I will cross that bridge when
we get there. When it comes to what I rate
the Brutal List, I give it a strong four out
of five buildings. I do think there is something to
(42:52):
seeing this movie in theaters. We actually saw it in
thirty five millimeter. Something I like looking for when I
watch a movie being shown on film is you can
tell when they're about to switch the reels. You see
a little flicker in the corner. It's like a white
circle that comes and goes, and then it goes into
the next reel. I assume each reel is about an
hour long because I counted about three times that it happened.
(43:15):
So there is something to watching it in theaters, especially
if you have a theater around you that is showing
it in thirty five millimeter. There is an added warmth
to it. It adds a little bit of grain to it.
I just kind of love that feeling. It's almost like
listening to an album on vinyl, where not a whole
lot of crazy difference, but it just adds like this
(43:37):
level of texture. And if you're somebody who like a
music'snob and you're like, nah, you gotta listen to it
on vinyl. It's kind of the same thing when it
comes to watching something in thirty five millimeter, but not
everybody has a theater that shows it that way. But
I think the benefit of seeing it in theaters is
you are fully engaged the entire time, You're not on
your phone, and you're able to give it your full attention.
(43:58):
I think if you watch this movie at home once
it is available on streaming, I would compare it to
me running outside versus me running on the treadmill. When
I go run outside, I'll run four miles one way.
I can't just stop because I have to go home.
I'm already invested in those four miles. I'm gonna come
back and run a total of eight. But if I
run four miles on the treadmill, you know how easy
(44:20):
it is just to hit stop. I'm tired. This is boring.
I'm gonna hit stop. I'm in a gym. I kind
of feel that way when it comes to watching a
long movie. When you go see it in theaters, you're committed.
You've paid for it, you were there, You're gonna sit
there the entire time. You get an hour into the movie,
you're like, you know what, I'll just finish it. At
this point, you get an hour into a movie at home,
you can just hit stop. You can go watch something else,
(44:42):
go back to watching the office. So I think that
is the benefit of seeing it in theaters. So again
for the brutalist, I give it four out of five.
It's time to head down to Movie Mikes. Trailer Paul.
The trailer for this new movie called The mon Monkey
is nuts, but in a good way. I like movies
(45:03):
that are nuts, but in a good way. It's a
mix of horror and comedy. It's from the studio Neon,
which I've praised a lot. In recent history. They've been
crushing it when it comes to horror. I mean, they
had immaculate, they had cuckoo, they had long Legs. This
is also from the same director of Long Legs, Oz Perkins,
(45:26):
who is really starting to crush it right now, but
this movie is coming out on February twenty First, it
is about two brothers named Bill and how they find
their father's old monkey in the attic and then a
series of death start. They decide to throw the toy
away because that's what you do, right when you find
a possessed dog, you throw it away. But what happens,
It always comes crawling back. They try to move on
(45:49):
with their lives, they grow apart over the years, but
then the monkey brings them back. A classic tale. This
movie feels like it was ripped from a Twilight Zone episode,
and of course it is an adaptation of a Stephen
King story. I think over the years, not every Stephen
(46:10):
King novel that has been turned into a movie has
been great, because again, just because it's a well written
story doesn't mean it's an easy plug and play. Either way,
the check clears for him, but I think he gets
a little bit more excited when you have a director
who gets what he was trying to say and really
is able to execute the story. I remember when The
Simpsons parodied a Twilight Zone episode in a classic story.
(46:35):
It was like the Second Treehouse of Horror. Episode back
in the nineties. But Homer gets this monkey paw that
it grants you the wishes on each of the fingers.
But anytime you make a wish, something bad happens, something
twisted happens where you get your wish, but it comes
with a little taste of misfortune. And I just kind
(46:55):
of had that feeling of whenever the Simpsons would pry
the Twilight Zone, because that's really how I was exposed
to it first, and they have like this classic voice
over with a really chilling voice. That is what this
movie reminds me of. The plot reminds me of. There
is also a Simpson's parenty in tree House of Horror
whenever Bart can read people's thoughts and then he'll turn
them into things. That is also the vibes I'm getting here.
(47:18):
So it's coming out again on February twenty First, before
I talk about it more, here's just a little bit
of the monkey trailer.
Speaker 3 (47:24):
The coroner said it was an accident, but it was
no accident.
Speaker 2 (47:28):
It was a monkey.
Speaker 3 (47:29):
When I was a kid, my twin brother and I
found something that loved to kill. I did everything I
could to make it go away, but it had other plans. Hello, brothers.
The monkey that likes killing our family. It's back. It
(47:54):
must be vanquished.
Speaker 1 (47:55):
There are a lot of crazy death in this trailer.
It opens up with this woman dying after the monkey
shoots a gun. And then you have our main star here,
THEO James. He's wearing these big old retro glasses. Blood
splatters across his face and then he takes the glasses
off and he has like this tan line of blood.
That is a great scene. I love horror movies that
(48:16):
have that one still image that you could see it
and associate it with this movie. That is something I
feel that horror movies have kind of gotten away from,
like you need that one big shot to sell the movie.
That one is fantastic. There's another death in this trailer
where you see this woman diving into a pool and
right before she dives in, the monkey makes that pool electrified.
(48:39):
She dives in and well gets electrocuted. So THEO James,
you may know him from the Divergent movies, I never
really got into those. I know him more from The
White Lotus. By the look at this trailer and me
doing some research on this, I believe he is playing
both brothers. I don't know if they're ever going to
actually meet, because for the most part in the trailer
(49:02):
it looks like they just talk over the phone. I
didn't see anybody else credited as the other brother, so
I believe that he is playing both brothers. Well, you're
gonna get from this movie a lot of blood that's
very over the top and gory, which is a much
different feeling than what Oz Perkins did when he directed
Long Legs last year, which that was much more of
(49:24):
a slow burned story. It was more sinister. It was
a lot of anticipation, showing you little glimpses of Long
Legs and then really ramping up towards the end. But
throughout that movie there wasn't a whole lot of just
blood and guts all over the thing that you would
expect in a normal slasher movie. It didn't really has
that feeling, even though it was based on a serial killer,
(49:47):
just not that same type of horror movie, more of
a thriller, more of a psychological horror movie. But here
much different tone. It still has that this is gonna
be kind of vibes, because anytime you have some kind
of possessed doll, you're gonna get that, but it's gonna
be a little bit more comical. And I don't think
(50:08):
you're gonna have nightmares from watching The Monkey, which I
felt very uneasy after watching Long Legs and thinking about, man,
there's somebody out there like that. That's freaky. But I
don't think unless you're a young kid, very impressionable, that
you're gonna leave the Monkey and think, oh, man, is
there gonna be a toy possession going down in my house?
That something is going to kill me? Which was a
big fear of mine when I was a kid. Talked
(50:30):
about this a lot, but the first horror movie that
ever gave me serious nightmares as a kid was Child's Play.
I think when it comes to the scariest dolls in
not just movies but TV and pop culture, Chucky is
number one. I think Annabelle has kind of creeped up there,
mainly from the first Conjuring movies. I don't know that
(50:51):
the spinoffs and the prequels of Annabelle have really solidified
her as me being scared of her because that first
Conjuring movie intense because she just looks freaky Chucky depending
on what state you see him in, he doesn't always
look freaky, but Annabelle always looks freaky. So Chucky gave
me nightmares. Annabelle never really gave me nightmares because I
(51:12):
was older. Although the conjuring did freak me out. I
did get nightmares from that, but it wasn't because of Annabelle.
Number three on my list is Slappy the Ventriloquist on
Me from Goosebumps. I could not even look at the
book cover of that Goosebumps story and not be freaked out.
I remember it was either my older brother or my
(51:33):
older sister had a copy of it, and I would
throw it in the shoe box because I was so
freaked out just by the image of Slappy. But then
you have in this movie. It's a monkey who looks
more comical. He looks freaky. He has like these bulgy eyes.
It doesn't talk, he doesn't really do a whole lot
of like at least not in the trailer of like
actually grabbing people because he's small. But it's the thing
(51:56):
surrounding him and the things he's able to do that
makes it scary. So I don't know if he's gonna
work his way up into this list, but either way,
this trailer did a really good job of just making
him look absolutely insane. So I have a lot of
hope for this movie. It looks like it's gonna be
a movie that's fun and bloody, and I love things
(52:17):
that are fun and bloody. So again, the Monkey is
coming out on February twenty first. This will be one
that'll get a reaction in the theater and somebody's throwing
their popcorn in the air.
Speaker 2 (52:27):
And that was this week's edition of movie Line Tramer.
Speaker 1 (52:31):
Par And that'll do it for another episode here of
the podcast. But before I go, I gotta give my
listeners shout out of the week this week, I'm going
over to Instagram to Ashley and Kennedy who commented on
a recent reel of mind and said, catching up and
just finished the podcast from eleven twenty five. Your ending
(52:51):
comment to yourself of what kind of accent was that
cracked me up? Thanks for not editing that out. Thank
you Ashley for a couple of things. One that means
you listen to the very end of the episode. I
love people who listen to the entire episode that don't
get tired of me going on and on about dumb
things and make it to the very end, So I
appreciate that. And the second thing is thank you for
(53:14):
noticing some of the things I've decided to leave in recently.
I think before I was really just like, if I
mess up even the slightest bit, I have to take
it off because I don't want to sound like an idiot.
And I think it was really last year where I
realized that I just kind of have to have a
little bit more of a free flow, let the podcast
live and breathe a little bit more like if you
(53:36):
were right here in this studio sitting with me, right
across from me, that version of me, and not worry
about everything being so polished. And I'm not a polished
speaker by any means, So I feel like leaving in
little things like that is just like, Okay, this is
who I really am. I'm going to say things weird. Sometimes,
I'm going to say people's names wrong. Sometimes, even though
(54:00):
well I make it such a point to research their names.
It's not even that I don't research and look up
an actor's name before talking about them.
Speaker 2 (54:08):
I do.
Speaker 1 (54:09):
There are other times where something just comes to my
mind and I will say it and not think of
it that I will think I'm saying the right thing,
but something in my brain triggers. Here's an example. One
thing I did edit out recently is I was talking
about Peter Parker and I straight up said Peter Pan,
even though there's no reason for me to say Peter Pan.
You obviously know how big of a Spider Man fan
(54:30):
that I am that I would never reference Peter Parker
as Peter Pan. But when I listened back to the episode,
for some reason, I said Peter Pan and Toby Maguire.
I'm like, that makes no sense. I have to take
that out. So sometimes my brain just like crosses these wires,
you know, like back in the day. I don't know
if they actually did this, but I would see it
in movies where you would call a telephone operator and
(54:52):
they would like plug in these wires and cables into
these different holes they connect you to a different line
or whatever. That is kind how my brain is sometimes,
But somebody just got the wrong piece into the wrong hole.
So those things I will edit out. Other little things
like that that you notice, Ashley, I'm gonna try to
leave in more so appreciate that comment. You're this week's
(55:12):
listener Shout Out of the Week. Thanks to everybody for
listening right now and until next time, go out watch
good movies and I will talk to you
Hello, Hello, Welcome back to Movie Mike's Movie Podcast. I
am your host, Movie Mike, joined by my wife and
cost Kelsey. How are you? Oh your Mike's not on?
How are you again?
Speaker 2 (00:08):
I'm tired.
Speaker 1 (00:08):
Sorry Mike wasn't on. It's on now. We have a
lot to get to. We're gonna talk about the OSCAR nominations.
I'll give my prediction movie review. We're talked about The Brutalist,
and in the trailer park a new horror kind of
comedy movie called The Monkey. Like I said, a lot
to get to. Oh you're here, all right? Ready to go?
Ready to go.
Speaker 2 (00:26):
We should not be recording this in the evening. I
do not have that kind of energy.
Speaker 1 (00:29):
We'll explain that in a second. Thank you for being subscribed.
Chaut to the Monday Morning Movie Crew. And now let's
talk movies from the Diastrolle podcast network. In cases Movie
Mike Movie Podcast. I'm a little hyped up. It is
the ninety seventh Oscar Academy Awards. So far, the only
thing that's been delayed is the nominations. They came out
(00:50):
a little bit later because of the LA wildfires, but
they're still set to go down Sunday, March second, Conan
O'Brien is hosting their host before No, okay, they're on
AB see. I always love the Oscars no matter what
movies are nominated, it just feels like a special event.
To me.
Speaker 2 (01:05):
It's your super Bowl.
Speaker 1 (01:07):
The super Bowl is also my super Bowl.
Speaker 2 (01:08):
But realized that as I said it.
Speaker 1 (01:10):
But yes, it also it feels like that level of
event to me. To most people, they say, I haven't
seen a lot of these movies nominated, why would I care?
And those are the same people who say that everything's
a rebate rebate You remember get having ascend in rebates,
everything is a reboot.
Speaker 2 (01:26):
I would love a rebate right now.
Speaker 1 (01:27):
Or everything is a sequel, so you can't say both things.
Speaker 2 (01:30):
What's harder now is that like they don't come out
just in theaters, like some of them are only indie theaters.
I would agree with that, Like it's very hard to
keep track of where to watch all of the Best
Picture nominees.
Speaker 1 (01:41):
And sometimes you can only watch them at home. Yet
the renom and it's the twenty bucks price. That is
the thing I wish would happen, and I know it's
all they try to get it into a certain window.
Some of these are from smaller studios, so they don't
have wide releases. But I wish by the time the
nominations came out they were available to watch either on
the streaming service or you could rent them for the
normal four to six bucks.
Speaker 2 (02:01):
I'm not renting a movie for twenty dollars.
Speaker 1 (02:03):
Yeah, that just feels like I need to go experience
it for twenty bucks. But for some people they'll do that.
But let's get right into it. You'll read the nominees.
I'll give you to crack your neck.
Speaker 2 (02:14):
Did that come through on those Oh?
Speaker 1 (02:15):
It came through.
Speaker 2 (02:16):
I realized that as I did it. I boxed tonight
and my shoulders are sore because it was upper body
day and my neck and my shoulders are really tight.
So apologies a little asmr there.
Speaker 1 (02:28):
But you'll go read the category, read the nominees, and
I'll predict who is gonna win. We'll talk about surprises
and snubs. Kick it off with the first category.
Speaker 2 (02:37):
We have best Picture.
Speaker 1 (02:38):
Oh, the big Daddy.
Speaker 2 (02:39):
Please never say that again.
Speaker 1 (02:40):
It's the big Daddy category.
Speaker 2 (02:42):
I don't like that.
Speaker 1 (02:43):
Okay, the big one.
Speaker 2 (02:44):
Are you done?
Speaker 1 (02:45):
Yes, I've done? Now go ahead.
Speaker 2 (02:47):
We have a Noor, Wicked Conclave, Amelia Perez, Dune Part two,
The Brutalist, The Substance, A complete unknown. I'm still here
in Nickel Boys.
Speaker 1 (02:58):
The surprise here, I think is Amelia Perez, just because
I feel overall it has the most nominations. And I
watched that movie and I just didn't quite see what
made that movie Best Picture worthy.
Speaker 2 (03:10):
And I seeing clips on TikTok and that was I've
seen what I need to do.
Speaker 1 (03:13):
I will say the clips make it seem worse than
it is. The way I was exposed to it first
was everybody calling out Selena Gomez for her Spanish. It
was Henny Dibez, who is a great Mexican actor, one
of my mom's favorite actors, and he was basically saying
that they should have had somebody who had more authentic
Spanish speaking. I didn't think it was that distracting. The
problem was that she speaks such good English that the
(03:36):
going back and forth between English and Spanish is very jarring.
I feel like to do that role you almost have
to play it a little bit closer because the character
is supposed to be fluent in Spanish from Mexico and
then also knows English but her English is way too perfect,
almost like California English that I mean Selena Gomez speaks. Now. Yeah,
it was also hard for me to root for her,
(03:57):
the main character who was a bad person, because what
that movie is about, it's a drug lord, cartel leader
who wants to change their entire life, change their gender,
and then kind of it's like, can you change who
you are with? It was hard for me to see
past the awful things that they did. And I think
(04:20):
it's because my parents are from Mexico. Every time they
go down there, their biggest fear is running into the cartel,
and I know how much that traumatizes people. It was
hard for me to have any sympathy towards that kind
of character. And I know the whole thing is supposed
to be redemption and she's doing good things later in life,
but if you look back on the things that not
just her character particular, but anybody in the cartel does,
it's like, is that forgivable?
Speaker 2 (04:41):
I wouldn't say it is forgivable, but is there a
way to move forward and be grateful that they're no
longer doing those things and doing good things now? Because
the other path is just keep doing bad things true,
I'm just playing devil's advocate here.
Speaker 1 (04:54):
That was hard for me. Aside from that, I thought
it was a pretty decent movie except for the singing.
That's the part that it was just like this. If
it didn't have that in there, it would be a
much stronger movie, and maybe it would have moved me
a little bit more. Maybe I would have felt a
little bit more for the character. But it was all
the musical aspects that I thought, they're only putting this
in to make it feel different, because aside from that,
I don't know if it would have stood out as much.
(05:15):
So that is what I feel like is the surprise here.
Even though it had the most nominations, I think the
winner here, I'm gonna go with the movie. I'm finally
gonna endorse. I'm going with The Substance. I love that movie,
and for a category that doesn't have one movie that
as soon as we watched it, I thought that was
Best Picture worthy. The only movie I even mentioned that
(05:37):
in the review was when I first reviewed The Substance
back opening weekend. So that is what I'm going with
the winner here. I'm going with my heart. The snubs,
no challengers.
Speaker 2 (05:46):
It was pretty surprising.
Speaker 1 (05:47):
I thought overall Challengers would have had at least one
or two nomination, especially in Best Picture. I thought that
was a snub. A Real Pain didn't get a nomination
for Best Picture. That was my second pick to win.
I said, I want it to be the substance, and
if the substance doesn't win, I want it to be
a real pain. But now a real pain is not
even nominated. I also thought maybe d D would get nominated.
Speaker 2 (06:08):
So can I add a snub?
Speaker 1 (06:10):
Yeah?
Speaker 2 (06:10):
Sing Sing?
Speaker 1 (06:11):
Oh, yes, Sing Sing is not Best Picture. And there
are a lot of movies on here. That's one, two, three, four, five, six, seven, eight, nine,
ten movies. Yeah, I would have probably taken out a
complete unknown.
Speaker 2 (06:22):
I think i'd have taken out Dune Part two, Dune
Parts I like to call it News Part two.
Speaker 1 (06:26):
Timothy Shalloway again. Yeah, it's rare for also sequels to
get nominated. I would have taken down both of the
Timothy Shallowy movies. Sorry, Tommy, put Sing Sing and put
Challengers in there, just because I think those will be
more definitive For twenty twenty four, next category.
Speaker 2 (06:40):
Best Actor in a Leading Role. If Adrian Brody, the
Brutalist Coleman Domingo sing Sing, Ray Fines Conklive, Timothy Chalomy
and a complete unknown and Sebastian Stan and The Apprentice going.
Speaker 1 (06:53):
Through some surprises here. I'm surprised Sebastian Stan got a
nomination surprise snub. I would say Denzel for Glady, but
can you just get nominated for being Denzel? I thought
his performance was the best character in that movie.
Speaker 2 (07:06):
They should just have like the Denzel a War, but
I don't think it.
Speaker 1 (07:10):
Was best actor worthy. Now I'm gonna do process of
elimination here on who I think is gonna win. I
think you take out Timothy Chalamey and Sebastian Stan. Timothy
Schallamey was good as Bob Dylan, but there were times
where I felt his performance was a little bit weak,
and Timothy Shallo May kind of shined through.
Speaker 2 (07:26):
It's very meta. It was like Timothy Schallamey being Timothy Shallamey,
and I.
Speaker 1 (07:30):
Could see that in there, and I think in a
great bio pick, you should not see that at all.
You should only see that character. So for that reason,
I don't think he deserves it.
Speaker 2 (07:37):
I didn't go full Austin Butler.
Speaker 1 (07:39):
Yeah, he didn't fully embrace it, live in it for
that long. Sebastian stan I'm surprised he's even in the category.
I'm taking him off. Ray Fines was great in Conclave,
great and everything he's he has such range. I mean,
he can do Voltimore and he can do Conclave. His
performance was so powerful in this movie, and I found
myself really enjoying it. But I don't think wins.
Speaker 2 (08:00):
Can I make a comparison there? He goes from the
dark lord to a man of the Lord.
Speaker 1 (08:03):
That is true. I didn't even think about that.
Speaker 2 (08:06):
Thank you was real singer.
Speaker 1 (08:07):
And then Covid Domingo is the one I want to win.
I love.
Speaker 2 (08:13):
Bad I am such a fan of his.
Speaker 1 (08:16):
I can visualize him going up there and giving his speech.
I just love his voice. I could hear him just
he could read.
Speaker 2 (08:23):
The phone book and I'd be like, cool, let me listen.
Speaker 1 (08:24):
I would listen to his Chick fil a order. His
voice is just like But I think it's easily Adrian Brody,
probably just.
Speaker 2 (08:30):
Because the movies three and a half hours long. I
feel like that guarantees you it's historical.
Speaker 1 (08:36):
He's won in the past, and I feel like putting
him against all these other performances. He is going to win.
I think that is an easy call. I would put
money that gold gold. I would put money that Yeah
is going to take the gold home. That's what I'll
try to say.
Speaker 2 (08:52):
Adrian Brode, I said Brody, Oh, so like you put
a little emphasis on Adrian Brode.
Speaker 1 (08:57):
I do have a hard time spelling Adrian. Never want
to spell it the way he spells it.
Speaker 2 (09:02):
It's kind of like gray g r A y g
r U. I.
Speaker 1 (09:05):
But for Best Actor Leading Role, Adrian Brody.
Speaker 2 (09:08):
Next category, Best Actress in a Leading Role, we have
Mikey Madison, Honora, Cynthia Arrivo, Wicked, Demi Moore, The Substance,
Carla Sophia gascon For, Amilia Prez and Fernando Torres.
Speaker 1 (09:21):
I'm still here a couple first time nominees here. Demi Moore, I.
Speaker 2 (09:25):
Think it's to me?
Speaker 1 (09:27):
Is it to me?
Speaker 2 (09:27):
I think it's to me?
Speaker 1 (09:28):
It could be the right way to say. I've said
Demi Moore my entire life.
Speaker 2 (09:32):
I swear it was one of those where it was
like we've all been saying this wrong forever.
Speaker 1 (09:35):
Could be Demi miss Moore, Miss Moore. Her Golden Globe
win was the first award she'd ever won.
Speaker 2 (09:42):
That was shocking.
Speaker 1 (09:44):
That is wild to me.
Speaker 2 (09:45):
It's one of those where you're like, you're a household name,
how have you never won her award before?
Speaker 1 (09:50):
And her speech was great that a producer told her
that she was just a popcorn actress. She would never
win an award like that. She was on that stage
winning that award.
Speaker 2 (09:57):
I mean, the woman shaved her head for Gi Jane.
Speaker 1 (09:59):
Yeah, Fernanda Torre is also a first time nominee. My
surprises and snubs. No Zendaya for Challengers, you know know,
Nicole Kidman for Baby Girl.
Speaker 2 (10:08):
Also, I want to point out that Carlo Sophia Gascon
is the first ever openly transactress to be nominated for
an acting award.
Speaker 1 (10:15):
So who do I think is going to win here?
I think the fact that Cynthia Arrivo is nominated is
more of it's an honor to be nominated, even though
she did fantastic in that because if you think about
just the performance she gave compared to everybody else, the
acting and the singing both at a ten. But I
think Wicked is going to have a hard time winning
these awards just because it was so big. It was
(10:37):
so big, it had commercial success. It's sometimes hard for
those movies to win.
Speaker 2 (10:41):
Did Barbie win anything?
Speaker 1 (10:42):
I think for music, But as far when it came
to acting, yeah, and even direct Greta Gerwick should have won.
Speaker 2 (10:48):
Yeah.
Speaker 1 (10:49):
But when it comes to the big, bigger awards, it
is hard for those commercially successful movies to win, which
is another flaw in the system. I don't think Mikey
Madison is going to win. I'm going with Demi because
not only is she my favorite performance out of anybody here,
I think she put the most on the line in
that character was very vulnerable. It's also very much a
(11:11):
reflection of her career. That's what she said, Like, the
reason she took this movie is because she felt this
way that when she reached a certain age in her career,
she thought she was done and wasn't gonna work. And
that's what the substance is all about. She has her
fiftieth birthday, she gets fired from her job, and they
want to replace her with a newer, younger person. So
I'm going with Demi or Demi Moore. I think she
(11:32):
is gonna win for Best Actress.
Speaker 2 (11:34):
Next category, all right, we have best Actor in a
supporting role. We have Kieran Colkin a Real Pain, Edward
Norton a complete unknown guy, Pierce the Brutalist, you, Rob Borisov.
Speaker 1 (11:47):
Yeah right, Sarah.
Speaker 2 (11:48):
Apologies if I butcher in that. I do listen to
pronunciations before we do this, but there's some that are hard,
and I try Jeremy Strong the Apprentice.
Speaker 1 (11:55):
No real surprises or snubs here. I think the fact
that A Real Pain kind of has two supporting not
really one lead roles. I wouldn't know where to put
Jesse Eisenberg. Would you have been lead? I mean, because
they had like equal parts almost, but I think he
would have been lead. Okay then, so I don't even
think he's a snub here. I'm just putting all my
(12:16):
chips in the A Real Pain basket on this one.
I love Kieran Colkin. I said that after watching that
movie too. In my review of that I said he'll
probably win an Oscar for it. Out of anybody on
this list. He's just the most likable too, and I
love that movie so good, probably my second favorite out
of all of these nominated movies. So I'm gonna go
with Kieran Colkin. Best Actor in a supporting role.
Speaker 2 (12:37):
Next category, Zoe Saldania Amelia Perez as actress right, sorry, yes,
best actress in sporting role. Sorena Grande have two last names.
Speaker 1 (12:46):
That's what caught me off guard.
Speaker 2 (12:47):
I was like, who is that Ariana Grande Utera for Wicked.
Speaker 1 (12:52):
I never had that name attached to her ever before.
Speaker 2 (12:55):
Isabella Rossellini conclive, I like, how you put the pronunciation
for us Italian and Monica Barbaro for a complete unknown,
Felicity Jones for the Brutalist. Sorry, I should have said
an Felicity Jones. She was the last one.
Speaker 1 (13:10):
This is a tough one. The surprise and snub here,
I feel is no Margaret Quayley, who was also fantastic
in the substance for the Winner. I would love to
see Ariana Grande wind Uterra Tara because I found so
much joy in her character and the way she played it,
and I want.
Speaker 2 (13:29):
People to take her seriously as an actress. I feel
like this was kind of the role that people were like, oh, like,
she has some acting chops and she.
Speaker 1 (13:37):
Can sing really well, and to go from being on Nickelodeon,
and I just feel like that would be a cool moment.
I also think with the Oscars not really appealing to
younger people at all, ariana Grande winning an Oscar would
maybe get some people to care who don't normally care
about these awards.
Speaker 2 (13:56):
Do you think there's people that are just like, what
are the Oscars?
Speaker 1 (13:58):
Yeah? Oh yeah, but I think it's gonna be He's
always al Donna.
Speaker 2 (14:01):
They don't remember the great Oscar selfie of like two
thousand and something.
Speaker 1 (14:06):
Yeah, twenty sixteen.
Speaker 2 (14:08):
Or when like Jimmy Kimmel went into the theaters and
was like delivering pizza. Oh yeah, great Oscars moments.
Speaker 1 (14:13):
I'm going with its always all Donna.
Speaker 2 (14:15):
All right, Next category Director, we have Jacques Oudier for
Amelia Prez, Brady Corbett the Brutalist, Sean Baker Anorra, Edward
Berga for Conclave, James Mangold a complete Unknown, and Corley
Farge for The Substance.
Speaker 1 (14:33):
Surprised that Denieville Knew was not nominated for Best Director
here for Doune. He is one of those top tier
directors that just has a filmography that kind of warrants
that that whenever he puts out a movie, he's going
to get nominated. And I know you're not always a
shoe in, but he's on that same level of a
Quentin Tarantino, of a Christopher Nolan. That they make a
(14:55):
movie I think is nominated. That just happens. But he
wasn't nominated for Doune two. I don't think he was
nominated for Doune one either, And I saw a lot
of people who are involved in that movie, like Josh Brolin,
say like it's a travesty that he wasn't nominated. So
I was just surprised by that. Do you have any
snubs here?
Speaker 2 (15:12):
Yeah, John Cheu for Wicked.
Speaker 1 (15:14):
I think people forget how hard it is to make
a movie on that scale and.
Speaker 2 (15:19):
The fact that they did two parts. I saw someone
I think it was Kate Kennedy on Instagram. She said,
maybe he'll get it, like when Wicked Part two comes
out and the whole thing is complete, Like maybe they're waiting.
But I do think that's a snub because I think
to direct not only a movie, but a musical of
that caliber and where your actresses are doing everything live,
(15:39):
I think he totally should have been nominated, And I agree.
Speaker 1 (15:42):
With you, I think that is a snub. I also
think the director for Challengers should have been nominated here,
who I think is going to win and also who
I want to win. I'm going with Cora Lee Farjov
for the substance who is representing the women directors here,
which if you look at all the people nominated, is
she the only woman? Yeah, she's the only woman nominated.
Speaker 2 (16:05):
Seem men are surprised by this women or not, so
I yeah, But then it's like, is it gonna be
a Greta Gerwig? And like the woman's not gonna win.
Speaker 1 (16:12):
I think she has to win here just because I
really feel like watching that movie, it was all about
her vision because if you give this script to anybody else,
I don't know that they could execute it like she did.
And that of all of the styles of film in
this category, I think it is truly the most unique
(16:34):
and truly the most and biggest testament to the director,
and that's what this category should be. So I think
she's gonna win. I also think she would give a
fantastic award speech, and I always think about that. I
always think, like, who'd I want to see go up
there and accept the award because that's a big part
of it me because that's always my favorite thing to
go back and listen to all the all the speeches.
So that is my pick, substance director.
Speaker 2 (16:57):
All right, Next we have best cinematography. We have Maria
the Brutalist, your favorite one to say, Amelia Prez and
Done two.
Speaker 1 (17:07):
Dune two is probably the easy pick here because it
is very visually interesting despite it not being as exciting
as we hoped it would be. It's pretty snoozy Dune two.
Dune one was totally snoozy. Doune two had more action,
but overall, I still feel like it was very slow paced,
but turns on.
Speaker 2 (17:28):
I'm just not a Duton girl.
Speaker 1 (17:29):
I'm not really either, and I'm a nerd. I should
be loving Dune. Most nerds love it. But visually, I
think is where this movie really stands apart from all
these other movies. So you would say that it would
be an easy win for Best Cinematography, but I think
it's going in because it has like these very iconic
old horror movie images that I feel were more cinematic
(17:52):
than anything that Done two did. That they almost look
these little paintings that they did that even though it's
a horror movie, I feel it deserves to win more
than a big sci fi movie. Even though it feels
like a smaller scale, I just feel like the cinematography
is more artistic. So I'm going with al Right, next category.
Speaker 2 (18:12):
You have Best International Feature Film Flow, I'm still here
Amelia Perez, The Seed of the Sacred fig and The
Girl with the Needle.
Speaker 1 (18:22):
I think it goes to Amelia Perez, and with that
movie having the most nominations, I feel like it'll at
least come away with one. If it does end up
losing here, I think it's going to show you that
just because you get a lot of nominations doesn't mean
you get a lot of wins. Last year, Killers of
the Flower Moon I think had ten nominations. It was
(18:42):
like the third most. It won zero.
Speaker 2 (18:44):
Yeah, that was a snub. Not over that one.
Speaker 1 (18:47):
That was a big snub.
Speaker 2 (18:48):
Lily Gladstone deserved to win, honestly, could have been Best Picture.
Speaker 1 (18:52):
But I think when you see like how many nominations
a movie gets, you think, oh, that has to be
an easy win. Sometimes you just don't win any So
I think the category the movie does have the best
chance to win here is here, So I'm going with
that as the winner.
Speaker 2 (19:07):
Next up, Best Animated Feature Film, Flow Inside Out too,
The Wild Robot, Memoir of a Snail, and Wallace and
Grammat Vengeance Most Foul.
Speaker 1 (19:16):
Oh, I love that movie. I like the Walles and
Grammed movies.
Speaker 2 (19:23):
I'm not really big into clamation oh.
Speaker 1 (19:24):
I love Claymation.
Speaker 2 (19:26):
I like to Chicken Run.
Speaker 1 (19:27):
I love Donn and the Nugget. I think there's just
something What is Down of the Nugget is one of
the spin off same creator interesting.
Speaker 2 (19:36):
I must miss that one.
Speaker 1 (19:38):
I just love the style of animation, the fact that,
I mean it's truly just taking an object moving a
little bit, taking a picture moving. It just something tangible
in film. It's just still exciting to me because I'm
a big fan of like practical effects. So the fact
that they can still make movies like this and they
get nominated for awards and they still do pretty well
on Netflix, they're still making them. Wallace and Grammat the
(19:59):
Franchise is a six time OSCAR nominee. That's wild So
I enjoyed it, but I don't think that one is
going to win. I am really excited that The Wild
Robot got nominated.
Speaker 2 (20:09):
I loved that movie.
Speaker 1 (20:11):
It is my favorite. I wanted to win again. I
think it's that commercial success, which I would love it
for Chris Sanders. I would love it for Maren Morris,
who was a part of this movie. Inside Out too,
I think is kind of the we'll give this to
you nomination. It was really good. It's the highest grossing
movie of the year last year.
Speaker 2 (20:28):
Yeah, but I don't know if it was Oscar level.
Speaker 1 (20:32):
Yeah. And the only sequel in the Disney Pixar franchise
that I believe deserved to win was Toy Story three.
I don't think Inside Out two is on that level.
I'm gonna go with Flow here, but I would love
for the Wild Robot to win.
Speaker 2 (20:47):
I would love for that to be like surprise. Yeah,
I would love to be for you to be wrong.
Speaker 1 (20:52):
I would love to be wrong on this one, dude.
Speaker 2 (20:53):
Next up, Best Original Song el Mal from Amelia Prez,
The Journey from the six Triple Eight, Like a Bird
from Sing Sing, Mikamino from Amelia Perez, and Never Too
Late from Elton John Never Too Late.
Speaker 1 (21:07):
I always find it wild when two things from the
same movie get nominated in the same category, because I
feel it splits the vote.
Speaker 2 (21:15):
I just feel like it's kind of cheating, Like that
is kind of cheating.
Speaker 1 (21:17):
They did the same thing in The Golden Globes and
that song still won, and Model still won. The me Camino.
I think that's the Selina Gomez one. Yeah, the Amot
I think that's the one that you saw a clip
up and said, this is terrible.
Speaker 2 (21:29):
I don't want to talk about that clip.
Speaker 1 (21:31):
But I just can't pull for those songs because I
didn't like any of the music from that movie. So
even though I think it'll probably win again here, I'm
gonna go with Like a Bird from Sing Sing because
I want to see that movie win an award.
Speaker 2 (21:43):
I want that movie to have success.
Speaker 1 (21:45):
And that song had like that level of power to
that movie. It added that level of power where that
movie is very you think it's gonna be a little
bit more gritty because it is like a prison movie.
Speaker 2 (22:00):
I thought it was gonna be totally different.
Speaker 1 (22:02):
And I thought there was gonna be a lot of
tension in it. But it's a surprisingly really warm and
soft inviting story a lot about these people in prison,
and I think that Like a Bird song is kind
of representative of that of It's also like a slower, sweeter,
tender song, but has like a slight little bit of
edge to it because it is a prison movie. So
(22:25):
I want that movie to win more awards again. I
would love Coleman Domingo to win. I hope they at
least get this one. I'm going with like a Bird
from Sing Sing all Right.
Speaker 2 (22:33):
Next, Best Original Score Conclave, Amelia Prez, The Brutalist, The
Wild Robot, and Wicked.
Speaker 1 (22:40):
I think this one is easily Conclave. Whenever I first
made my notes after watching that movie, I said it
had a fantastic score because it's so driving and it
makes it feel like a horror movie. That movie, in
no way is a horror movie, but it almost adds
like this level of tension that's like driving the entire time.
Dunt very cinematic, a lot of strings, and it just
(23:05):
feels chilling the entire time. And that definitely took that
movie up a level.
Speaker 2 (23:09):
The addition of strings does make something feel a little
It makes it more like everywhere on my arm stands up.
Speaker 1 (23:14):
And there's a lot of tension in that movie. There's
a lot of confrontation, and the score adds to that.
Wild Robot has a good score, but I think the
actual song I don't really consider the songs with lyrics
a part of the score, Like, I feel like that's
part of the soundtrack. So I feel like the score
in the Wild Robot is in a strong same thing
(23:35):
with Wicked, Like do you consider the songs a part
of the score. I don't. I don't feel like that's
the same thing. Like the score to me is like
the instrumentation. And I think even when they play it
in the categories the nominees, I don't think they put
anything with lyrics because that would be a Best Original Song, right.
Speaker 2 (23:50):
I honestly don't know that I've ever thought about.
Speaker 1 (23:52):
That because when I think a score, I just think
instrumental music, and there is obviously a score behind everything
in Wick, but I don't feel like that's as prevalent
as the actual song. So I feel like in this
category I would be voting for the songs, but when
I really didn't think the score itself was that impactful. Yeah,
so I'm going easily with Conclave and we only have
(24:15):
a few categories left. What do we got?
Speaker 2 (24:16):
But we gotta talk about the snub for the score.
Speaker 1 (24:19):
Oh yeah, no, challengers, it won the Golden Globe.
Speaker 2 (24:22):
I mean that score alone, that one song, Like, yeah.
Speaker 1 (24:27):
You talk about adding tension to a scene.
Speaker 2 (24:30):
Surprise snub both I bet.
Speaker 1 (24:31):
Trent Reznor is rolling around and his millions of dollars, Like, ah,
I didn't get the Oscar nomination.
Speaker 2 (24:37):
All right. Next we have best makeup and hairstyling the
substance Wicked Amelia Perez a different man and.
Speaker 1 (24:46):
Did have some a lot of crazy makeup and hairstyling.
Speaker 2 (24:49):
A different man.
Speaker 1 (24:50):
Yeah, different mandang. They all have some pretty hardcore makeup
and hairstyling. And then you think about Wicked Cynthia Reo
having to be green for so long.
Speaker 2 (24:59):
And like she would have to there's days where like
just her face would be green, her whole body just
to face in her hands.
Speaker 1 (25:06):
Yeah, you do you account for how many hours the
person had to be in hair and makeup. Oh, that's
a tough one. Also the fact that they were able
to do all the same things basically all the same
things they did from the Wizard of Oz, but nobody
got sick or hurt, yeah, or health issues from the
makeup and hair. I'm going with the substance just because
(25:28):
Demi Moore takes on a crazy transformation in that the
entire third act of hair and makeup is wild. Also,
how much they transformed Margaret Quayley in that movie. Even
she talked about the prosthetics they used on her.
Speaker 2 (25:44):
Oh yeah, she talked about in her chest.
Speaker 1 (25:46):
Yeah. I think that is wild. I'm going to go
with the substance.
Speaker 2 (25:50):
All right, best costume design kick us off. I also
just want people to be as annoyed as I've been
for the past month listening to you say that Wicked
Gladiator too a complete unknown in conclave.
Speaker 1 (26:03):
I'm gonna give this one of the Wicked.
Speaker 2 (26:05):
Cast, I think so.
Speaker 1 (26:06):
I think those costumes were the most extravagant. No, Swaratu
also had some Like anytime you do a period piece,
a lot goes into that wardrobe. Sometimes when I think
best costume design, I always think anything old is gonna win,
just because it feels like they had to make every
single piece of clothing, because you're not gonna go out
(26:28):
and find those you have the tailor everything. Gladiator two
not really anything crazy going on there.
Speaker 2 (26:35):
The shock for me is a complete unknown. I'm sorry.
Go to every vintage store in New York and you
just found Bob Dylan's wardrobe.
Speaker 1 (26:42):
Bob Dylan doesn't really wear any extravagant like on stage
things like you would for like Elton John or the
Bohemian Rhap City movie. Yeah, yeah, that did Wild Why
did that sneak in there? And then Conclave, I mean, yeah,
it's it's an interesting costume, but I don't feel like
that's worthy of an Oscar. So I'm go Wicked. I
want Wicked to win here.
Speaker 2 (27:01):
Yeah, all right? Best Visual Effects doing part two Kingdom
of the Planet of the Apes, Alien Romulus, Better Man
and Wicked.
Speaker 1 (27:10):
This is where dude gets it. They get the Visual
Effects Award. We're doing part two next up. You're like,
like ether Win, I would have wanted and Your Mind
Dead pull Wolverine. And there was some sus CD I
in that there.
Speaker 2 (27:23):
Was I all right. Best Adapted Screenplay a complete Unknown,
Conclave Amelia Perez Nickel Boys, and Sing Sing.
Speaker 1 (27:34):
This is essentially they take like a book or a
story and turn it into a movie. I'm going with
Sing Sing Yeah.
Speaker 2 (27:39):
I'm also kind of surprised Wicked wasn't though, Oh yeah,
because it is a book. But I mean I want
Sing Sing to win.
Speaker 1 (27:45):
Yeah. I'm going with Sing Sing here, all right.
Speaker 2 (27:47):
And then final one is Best Original Screenplay anor the
Brutal Brutalist, a real pain. September five is September five,
September five, okay, and the substance.
Speaker 1 (27:58):
I think this is where Jesse Eisenberg gets his Oscar.
I want to see him go once the agent accept this.
I think he wrote the best original screenplay, just straight up.
Speaker 2 (28:07):
Yeah.
Speaker 1 (28:07):
That entire movie is all based on the screenplay, Like
the writing in that the dialogue, all of the layers
of that story is all on the page, and you
can feel it while watching that movie. It's also the
execution of them as actors and him directing. But I
think the true heart of that movie is the screenplay.
So I'm going with a real pain to recap here
(28:27):
most nominations. Amelia Perez has thirteen, Wicked has ten, The
Brutalist has ten as well. Complete Unknown has eight. I
feel like they're gonna come home the most empty handed.
I feel like it was kind of Oscar bait Timothy
Chalomay's performance in that it just felt very Oscar baby
to me. Even the time it came out. That was
(28:48):
them saying we want this movie to be considered. I
enjoyed it, but I don't think it's at the level
of winning. An Oscar Conclave has eight. Ho Nora has six.
I don't think of Noora is gonna win a whole lot.
Doune Part two has five. The Substance has five, not
as many as some of the top ones, but I
think if it can win the big ones, that's all
that matters. Has four.
Speaker 2 (29:12):
So overall, everyone's got time to make their scorecards.
Speaker 1 (29:15):
Yeah, see what you want to win. We'll look back
and see what I got right, what I got wrong.
Speaker 2 (29:21):
Oh yeah, I don't agree with all of these, which
didn't have time to go through my opinions. This isn't
the Kelsey Podcast.
Speaker 1 (29:26):
What do you have for Best Picture?
Speaker 2 (29:28):
I mean, I almost kind of feel like the Brutalists
might take it, but I could see the Substance winning.
I mean, I'm just kind of going for what I want.
Like I'd love Coleman Domingo to win. Best Actor, I
would love I would love Demeanmoor, but I would also
love Cynthia Reville. That's a hard one. Best Actor. I
agree with you, Kieren Colkin Best Actress. I'm gonna go
(29:48):
Ariana Grande debut Tara Best Director. I do think I
agree with you. Brady Corbett one the Golden Globe, though
I think those are the only ones that I really
disagreed with, and it's more like wishful thinking.
Speaker 1 (30:02):
All right, well, those are the nominees again. Oscars are
going down on Sunday, March second, unless they delay.
Speaker 2 (30:09):
It cleary calendars.
Speaker 1 (30:10):
I will be there. I'll wear my tex You will
not be there, oh man, I'll be there on my
couch watching it with my tuxedo hoodie.
Speaker 2 (30:18):
We gotta hear it about, honey.
Speaker 1 (30:20):
I know it's a tradition. I wear it every single year.
Speaker 2 (30:22):
Better days.
Speaker 1 (30:24):
We'll come back and I'll give my thoughts on the Brutalists,
which we've been talking about here.
Speaker 2 (30:28):
We've talked about it a lot.
Speaker 1 (30:33):
Let's get into it now. A spoiler free movie review
of The Brutalist Nominated for Best Picture, Adrian and Brody
is up for Best Actor. The director, Brady Corbet is
up for Best Director. The question I think most people
want to know is this movie worth three and a
half hours. It's a long one. I think up to
date it is the longest movie I've ever seen in theaters.
(30:55):
I don't mind a three hour movie if a director
and a story is big enough and warrants that runtime,
and I'm able to go and enjoy it and not
even think about it. I am all for it. I'll
kill an afternoon enjoying a great movie if it's truly
a story that required it. And I think that is
a big question. Once you get to that three hour mark.
You have to have a reason to keep people there
(31:16):
that long. When it comes to the brutalist, I actually
think it was worth that three and a half hour runtime.
I found myself at the end saying I want a
little bit more. I don't know exactly why I want more,
but the way the story unfolded, I found myself fully
enjoying it. I'll get into how I felt about the
(31:37):
intermission because I've never seen a movie this long. I've
never even seen a movie with an intermission like this.
But what the movie is about. You have Adrian Brody
who is a Holocaust survivor. Even though they don't really
get into that a whole lot, it's almost just implied.
Unless I missed it, there wasn't an explicit part where
he talked about being a Holocaust survivor, but the movie
(32:01):
takes place shortly after the Holocaust. His character is named Loslow.
He is this really smart, brilliant architect, smart brilliant kind
of the same thing, but he has to escape his
home country, moved to the United States, moves to Philadelphia
to go work for his cousin in a furniture store,
and he is an immigrant trying to restart his life
(32:22):
in a country that doesn't really want him. So he
is having to start all over, which I thought was
an entirely different immigrant story that I'm kind of used
to you. I have parents who are both from Mexico.
They came from nothing, so when they got here without anything,
it wasn't as big of a culture shock for them
(32:43):
because coming to the United States for them was their
ticket to a better life. They went being able to
work in fields in Mexico and not make anything, and
here the American dream, they could put in that same effort,
put in that same work, and now they could start
building towards something. When it comes to Adrian Brodie's character.
In his country, he was this really renowned architect who
(33:05):
was celebrated for his work, created these amazing structures that
were modern ahead of its time. But suddenly he gets
to the United States and he has to start all over.
He is living in a shelter, he is trying just
to make enough money for food, has no place to stay.
He also struggles with addiction, which was an underlying theme
(33:29):
of the entire movie. I thought that was kind of
going to be the focus of it, of him trying
to be an architect but dealing with drug issues. That
was kind of the thing about this movie is there's
not this one big exposition. Even after the movie, when
I did feel I wanted more, I found myself wondering why.
I found myself saying what exactly was the purpose of
(33:51):
this movie? What exactly were they trying to say? And
I've been spending some time now after watching it, going
back and putting the pieces together. So I will say
I think this will be a hard movie for me
to recommend to people one because of that runtime, even
though I feel it does warrant it. There's nothing crazy
that happens that you're following the entire time, like this
(34:13):
happens to him, and then he has to do this,
and then he has to do this, And there's not
a whole lot of crazy action. It is a very
large scale drama that unfolds very subtly, and it's a
really big, deep dive into this character learning all of
his flaws and all the things that make him great,
the reasons why he has tortured, the overall perils and
(34:35):
dark side of chasing that American dream and coming to
this country and realizing you can't trust everybody, which I
think is something I learned from my parents. Sometimes people
would take advantage of them. They would either go try
to find a job, or somebody would say, hey, come
work for me. They're working for him, and then they
screw them. So there's a hard thing for people who
(34:57):
come here of just knowing who to trust. How was
the other part of this story is you find yourself
thinking did this actually happen? Was this actually a real person?
And it's actually not. It's a fictional story, not based
on a real person. Although some historical events obviously like
the Holocaust and other elements of this story actually did happen.
I found myself even wondering what does the title mean
(35:20):
when it's the Brutalist. When I heard that title, I
thought it meant he was going to face I don't know,
maybe get beaten up or maybe something hardcore. The brutalist
is actually a reference to an architecture style called brutalism,
which is something that he was known for. It is
a French phrase. I'm going to butcher this, but it's
(35:40):
called bitone brute, which means raw concrete. He was all
about the raw concrete. I actually think the design looks fantastic.
At that time in the forties and fifties, I have
to imagine it looked way ahead of its time. I
feel even now it still looks pretty modern. And this
entire movie is him just trying to build something. So
(36:03):
that's why I say it's a hard movie to recommend
because I don't even think it's a slow burn, because
sometimes a slow burn indicates that eventually it ramps up
to a lot of action. It is just about the
journey of this movie. They even make a reference in
a quote in this movie that I love that sometimes
it's not about the journey, it is about the destination,
(36:26):
which I feel is almost the reverse of explaining this movie,
because it is kind of that journey that you go
through with this character, and it's not so much about
where you find yourself at the end. I don't even
think that is fully important, and I think to some
people that may kind of piss you off, and you
get to the end and think, what did I watch,
but I found myself enjoying the director's ability to really
(36:51):
flesh out and understand all the inner workings of this character.
And I think that is what makes this movie compelling,
that I felt like I was there with him, and
there are some movies you watch where they don't feel
like movies at all. I felt like I was in
this world like I was in the nineteen forties. In
(37:11):
the nineteen fifties. Maybe it has to do with the
way this movie was filmed, the cinematography, some of the shots.
It felt very intimate. There were moments where I felt
like I shouldn't be there watching it, and I think
with that type of storytelling, that is really what made
it feel like it was worthy of that three plus
hour runtime because you kind of just let it steep
(37:33):
in and enjoy it. The dialogue is really important throughout
this entire movie, so it is when you have to
pay attention to because if you miss something, then you
might miss a pretty big plot point. And I think
that is why I really enjoyed the fact that this
movie had a fifteen minute intermission, which I hadn't experienced before.
I had a little bit of hesitation going into it
(37:54):
because the movie is listed at three hours and thirty
five minutes. I thought it was gonna be a fifteen
minut intermission. On top of that, I'm like, that's almost
four hours right there, not including the ten to fifteen
minutes of previews. How it actually broke down is the
intermission hit around an hour and forty minutes. There's a
fifteen minute intermission, came back for another hour and twenty
(38:18):
eight minutes, and then after that there is a six
minute epilogue, which is really quick. I thought that was
going to be longer. So you get about three hours
and fourteen minutes of film fifteen minute intermission, so you're
there for a total about three hours and thirty minutes
unless you stay around for credits. And I really feel
like having that fifteen minute intermission really made it easier
(38:38):
to take in because I've gone through these long movies before,
and it was the ability to get up, go to
the lobby, grab a drink. We saw it at the
Bell Court. I got me a lemon lacroix, went to
the bathroom and came back and I had about four
minutes left until the movie started again, So it was
kind of a good reset, I thought, I wasn't going
to enjoy that because I don't really like to stop
(38:59):
them on mentum once I'm at a movie and I'm
fully in the story. But I think, given that there
wasn't anything high paced or crazy amount of action in
this movie, that I like the break to be able
to reset my brain, go do what I need to do,
walk around a little bit if I need to come
back and sit for the rest of the movie. I
(39:20):
actually found myself enjoying it. I would not be opposed
to going to see another movie with a fifteen minute intermission.
I think the other thing that has caused some controversy
with this movie, aside from the runtime, which I love,
the director defending that he was saying that theaters weren't
going to want to run it, But look at him
now with all these nominations, so I do credit him
(39:40):
for that. But I think some of the controversy has
come from the fact that it came out that they
use some AI to enhance Adrian Brody and Felicity Jones's
Hungarian accent. And I think when people read that headline
and hear that, you think that they used it the
entire time, and that they use it in a way.
(40:01):
That kind of diminishes the art because a lot of acting,
especially when you get a Best Actor nomination, is in
that performance. Can you do the accent? Can you portray
to the audience that you spend enough time understanding this
character in order to portray them on the big screen.
What they actually used was the AI voice cloning tool,
(40:22):
and they didn't use it the entire time. Instead, they
used it to tweak words here and there, because they
said it was a really difficult accent to do and
there were certain words they just wanted to fix. I
heard it at first, and I even had that reaction
like if you use AI like that kind of takes
away from the performance. But it sounds like they just
used it to tweak things here and there wasn't the
(40:42):
entire time. I actually think you so that is fine.
I've used something like that before. I've taken interviews sometimes
where you can't hear maybe somebody on zoom. They have
a response and a voice gets like that weird zoom
robotic sound. You could put it in AI transcribes it.
You can fix in one word, you can type it
out and it cloones their voice and it says it
(41:04):
and you can fix it, So it would be hypocritical
of me to say, like, now you can't use that
when I have used it before. I get it's different
between an interview and art, but I think especially in
movies like this, they don't have like a crazy budget
like an Avengers movie would. Sometimes you have to use
those resources, and you also think about things when it
(41:25):
comes to using movie magic. Nobody is saying anything about
James Gunn using CGI to make Superman fly like that
is cheating. That really doesn't take away from David krn
Sweat's performance as Superman. That is just movie magic. That's
what movies are, using special effects to make something seem
(41:46):
a little bit more real and realistic for us. I
ultimately think it comes down to how the audience interprets it.
If we start rejecting it in a way that it
gets so blatantly overused, they'll have to scale back. But
if they're using it to enhance things here and there,
to fix little tweaks, much like a photographer would use photoshop,
(42:07):
I still think that's art. Somebody takes a photo and
maybe there's some power lines in the back they want
to take out. They use an AI tool to clear
that out. Nobody says that that is less artistic because
they used AI to fix it. Right now, in this case,
I'm not against it. I don't think it takes away
from the fact that Adrian Brody was nominated and will
(42:30):
win for Best Actor. But will somebody eventually end up
abusing AI and making it seem less authentic. Yeah, that's
gonna happen to and I will cross that bridge when
we get there. When it comes to what I rate
the Brutal List, I give it a strong four out
of five buildings. I do think there is something to
(42:52):
seeing this movie in theaters. We actually saw it in
thirty five millimeter. Something I like looking for when I
watch a movie being shown on film is you can
tell when they're about to switch the reels. You see
a little flicker in the corner. It's like a white
circle that comes and goes, and then it goes into
the next reel. I assume each reel is about an
hour long because I counted about three times that it happened.
(43:15):
So there is something to watching it in theaters, especially
if you have a theater around you that is showing
it in thirty five millimeter. There is an added warmth
to it. It adds a little bit of grain to it.
I just kind of love that feeling. It's almost like
listening to an album on vinyl, where not a whole
lot of crazy difference, but it just adds like this
(43:37):
level of texture. And if you're somebody who like a
music'snob and you're like, nah, you gotta listen to it
on vinyl. It's kind of the same thing when it
comes to watching something in thirty five millimeter, but not
everybody has a theater that shows it that way. But
I think the benefit of seeing it in theaters is
you are fully engaged the entire time, You're not on
your phone, and you're able to give it your full attention.
(43:58):
I think if you watch this movie at home once
it is available on streaming, I would compare it to
me running outside versus me running on the treadmill. When
I go run outside, I'll run four miles one way.
I can't just stop because I have to go home.
I'm already invested in those four miles. I'm gonna come
back and run a total of eight. But if I
run four miles on the treadmill, you know how easy
(44:20):
it is just to hit stop. I'm tired. This is boring.
I'm gonna hit stop. I'm in a gym. I kind
of feel that way when it comes to watching a
long movie. When you go see it in theaters, you're committed.
You've paid for it, you were there, You're gonna sit
there the entire time. You get an hour into the movie,
you're like, you know what, I'll just finish it. At
this point, you get an hour into a movie at home,
you can just hit stop. You can go watch something else,
(44:42):
go back to watching the office. So I think that
is the benefit of seeing it in theaters. So again
for the brutalist, I give it four out of five.
It's time to head down to Movie Mikes. Trailer Paul.
The trailer for this new movie called The mon Monkey
is nuts, but in a good way. I like movies
(45:03):
that are nuts, but in a good way. It's a
mix of horror and comedy. It's from the studio Neon,
which I've praised a lot. In recent history. They've been
crushing it when it comes to horror. I mean, they
had immaculate, they had cuckoo, they had long Legs. This
is also from the same director of Long Legs, Oz Perkins,
(45:26):
who is really starting to crush it right now, but
this movie is coming out on February twenty First, it
is about two brothers named Bill and how they find
their father's old monkey in the attic and then a
series of death start. They decide to throw the toy
away because that's what you do, right when you find
a possessed dog, you throw it away. But what happens,
It always comes crawling back. They try to move on
(45:49):
with their lives, they grow apart over the years, but
then the monkey brings them back. A classic tale. This
movie feels like it was ripped from a Twilight Zone episode,
and of course it is an adaptation of a Stephen
King story. I think over the years, not every Stephen
(46:10):
King novel that has been turned into a movie has
been great, because again, just because it's a well written
story doesn't mean it's an easy plug and play. Either way,
the check clears for him, but I think he gets
a little bit more excited when you have a director
who gets what he was trying to say and really
is able to execute the story. I remember when The
Simpsons parodied a Twilight Zone episode in a classic story.
(46:35):
It was like the Second Treehouse of Horror. Episode back
in the nineties. But Homer gets this monkey paw that
it grants you the wishes on each of the fingers.
But anytime you make a wish, something bad happens, something
twisted happens where you get your wish, but it comes
with a little taste of misfortune. And I just kind
(46:55):
of had that feeling of whenever the Simpsons would pry
the Twilight Zone, because that's really how I was exposed
to it first, and they have like this classic voice
over with a really chilling voice. That is what this
movie reminds me of. The plot reminds me of. There
is also a Simpson's parenty in tree House of Horror
whenever Bart can read people's thoughts and then he'll turn
them into things. That is also the vibes I'm getting here.
(47:18):
So it's coming out again on February twenty First, before
I talk about it more, here's just a little bit
of the monkey trailer.
Speaker 3 (47:24):
The coroner said it was an accident, but it was
no accident.
Speaker 2 (47:28):
It was a monkey.
Speaker 3 (47:29):
When I was a kid, my twin brother and I
found something that loved to kill. I did everything I
could to make it go away, but it had other plans. Hello, brothers.
The monkey that likes killing our family. It's back. It
(47:54):
must be vanquished.
Speaker 1 (47:55):
There are a lot of crazy death in this trailer.
It opens up with this woman dying after the monkey
shoots a gun. And then you have our main star here,
THEO James. He's wearing these big old retro glasses. Blood
splatters across his face and then he takes the glasses
off and he has like this tan line of blood.
That is a great scene. I love horror movies that
(48:16):
have that one still image that you could see it
and associate it with this movie. That is something I
feel that horror movies have kind of gotten away from,
like you need that one big shot to sell the movie.
That one is fantastic. There's another death in this trailer
where you see this woman diving into a pool and
right before she dives in, the monkey makes that pool electrified.
(48:39):
She dives in and well gets electrocuted. So THEO James,
you may know him from the Divergent movies, I never
really got into those. I know him more from The
White Lotus. By the look at this trailer and me
doing some research on this, I believe he is playing
both brothers. I don't know if they're ever going to
actually meet, because for the most part in the trailer
(49:02):
it looks like they just talk over the phone. I
didn't see anybody else credited as the other brother, so
I believe that he is playing both brothers. Well, you're
gonna get from this movie a lot of blood that's
very over the top and gory, which is a much
different feeling than what Oz Perkins did when he directed
Long Legs last year, which that was much more of
(49:24):
a slow burned story. It was more sinister. It was
a lot of anticipation, showing you little glimpses of Long
Legs and then really ramping up towards the end. But
throughout that movie there wasn't a whole lot of just
blood and guts all over the thing that you would
expect in a normal slasher movie. It didn't really has
that feeling, even though it was based on a serial killer,
(49:47):
just not that same type of horror movie, more of
a thriller, more of a psychological horror movie. But here
much different tone. It still has that this is gonna
be kind of vibes, because anytime you have some kind
of possessed doll, you're gonna get that, but it's gonna
be a little bit more comical. And I don't think
(50:08):
you're gonna have nightmares from watching The Monkey, which I
felt very uneasy after watching Long Legs and thinking about, man,
there's somebody out there like that. That's freaky. But I
don't think unless you're a young kid, very impressionable, that
you're gonna leave the Monkey and think, oh, man, is
there gonna be a toy possession going down in my house?
That something is going to kill me? Which was a
big fear of mine when I was a kid. Talked
(50:30):
about this a lot, but the first horror movie that
ever gave me serious nightmares as a kid was Child's Play.
I think when it comes to the scariest dolls in
not just movies but TV and pop culture, Chucky is
number one. I think Annabelle has kind of creeped up there,
mainly from the first Conjuring movies. I don't know that
(50:51):
the spinoffs and the prequels of Annabelle have really solidified
her as me being scared of her because that first
Conjuring movie intense because she just looks freaky Chucky depending
on what state you see him in, he doesn't always
look freaky, but Annabelle always looks freaky. So Chucky gave
me nightmares. Annabelle never really gave me nightmares because I
(51:12):
was older. Although the conjuring did freak me out. I
did get nightmares from that, but it wasn't because of Annabelle.
Number three on my list is Slappy the Ventriloquist on
Me from Goosebumps. I could not even look at the
book cover of that Goosebumps story and not be freaked out.
I remember it was either my older brother or my
(51:33):
older sister had a copy of it, and I would
throw it in the shoe box because I was so
freaked out just by the image of Slappy. But then
you have in this movie. It's a monkey who looks
more comical. He looks freaky. He has like these bulgy eyes.
It doesn't talk, he doesn't really do a whole lot
of like at least not in the trailer of like
actually grabbing people because he's small. But it's the thing
(51:56):
surrounding him and the things he's able to do that
makes it scary. So I don't know if he's gonna
work his way up into this list, but either way,
this trailer did a really good job of just making
him look absolutely insane. So I have a lot of
hope for this movie. It looks like it's gonna be
a movie that's fun and bloody, and I love things
(52:17):
that are fun and bloody. So again, the Monkey is
coming out on February twenty first. This will be one
that'll get a reaction in the theater and somebody's throwing
their popcorn in the air.
Speaker 2 (52:27):
And that was this week's edition of movie Line Tramer.
Speaker 1 (52:31):
Par And that'll do it for another episode here of
the podcast. But before I go, I gotta give my
listeners shout out of the week this week, I'm going
over to Instagram to Ashley and Kennedy who commented on
a recent reel of mind and said, catching up and
just finished the podcast from eleven twenty five. Your ending
(52:51):
comment to yourself of what kind of accent was that
cracked me up? Thanks for not editing that out. Thank
you Ashley for a couple of things. One that means
you listen to the very end of the episode. I
love people who listen to the entire episode that don't
get tired of me going on and on about dumb
things and make it to the very end, So I
appreciate that. And the second thing is thank you for
(53:14):
noticing some of the things I've decided to leave in recently.
I think before I was really just like, if I
mess up even the slightest bit, I have to take
it off because I don't want to sound like an idiot.
And I think it was really last year where I
realized that I just kind of have to have a
little bit more of a free flow, let the podcast
live and breathe a little bit more like if you
(53:36):
were right here in this studio sitting with me, right
across from me, that version of me, and not worry
about everything being so polished. And I'm not a polished
speaker by any means, So I feel like leaving in
little things like that is just like, Okay, this is
who I really am. I'm going to say things weird. Sometimes,
I'm going to say people's names wrong. Sometimes, even though
(54:00):
well I make it such a point to research their names.
It's not even that I don't research and look up
an actor's name before talking about them.
Speaker 2 (54:08):
I do.
Speaker 1 (54:09):
There are other times where something just comes to my
mind and I will say it and not think of
it that I will think I'm saying the right thing,
but something in my brain triggers. Here's an example. One
thing I did edit out recently is I was talking
about Peter Parker and I straight up said Peter Pan,
even though there's no reason for me to say Peter Pan.
You obviously know how big of a Spider Man fan
(54:30):
that I am that I would never reference Peter Parker
as Peter Pan. But when I listened back to the episode,
for some reason, I said Peter Pan and Toby Maguire.
I'm like, that makes no sense. I have to take
that out. So sometimes my brain just like crosses these wires,
you know, like back in the day. I don't know
if they actually did this, but I would see it
in movies where you would call a telephone operator and
(54:52):
they would like plug in these wires and cables into
these different holes they connect you to a different line
or whatever. That is kind how my brain is sometimes,
But somebody just got the wrong piece into the wrong hole.
So those things I will edit out. Other little things
like that that you notice, Ashley, I'm gonna try to
leave in more so appreciate that comment. You're this week's
(55:12):
listener Shout Out of the Week. Thanks to everybody for
listening right now and until next time, go out watch
good movies and I will talk to you
Host
Mike D
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