The Incomparable

342: Sad Superman


  the incomparable number 342 March 2017 [TS]

  welcome back everybody to the [TS]

  incomparable i am your host Jason Snell [TS]

  we're here this time to talk about a [TS]

  film from the year 2000 it is M night [TS]

  Shyamalan that's right he's made a lot [TS]

  of movies that people do not like he's [TS]

  got quite a reputation he made the sixth [TS]

  sense that was a kind of a phenomenon [TS]

  his next film was a a sort of a secret [TS]

  code to superheroes I suppose although [TS]

  looking back it's hard to even believe [TS]

  that it's secret but I guess that's the [TS]

  position you have after you've seen the [TS]

  movie a few times it's unbreakable and [TS]

  joining joining us to talk about [TS]

  unbreakable on this episode are the [TS]

  following superheroes of podcasting [TS]

  moises chui yan hello excelsior hi Jason [TS]

  how are you it's good to have you here [TS]

  dan Morin is also here hi they call me [TS]

  mr. class oh do they nope nope no one [TS]

  ever has called me that all right [TS]

  someday maybe right Erica and sign is [TS]

  here hi hi I have a little bit of a cold [TS]

  so i'm pretty sure i'm not a superhero [TS]

  oh that's true and he wasn't gonna be on [TS]

  this episode but I stood in the middle [TS]

  of a bus station until he bumped into me [TS]

  it's justin michael hi tell me something [TS]

  Jason when you woke up this morning was [TS]

  it still there the sadness yep cuz he [TS]

  knew he was doing this by gazmin want [TS]

  want so where to begin should we should [TS]

  we start when Jason Jason I have an [TS]

  opening statement oh my god you beat me [TS]

  to it Jason just just for historical [TS]

  purposes and not to not to steal John [TS]

  syracuse's most signature signature [TS]

  lines but I think we do need a little [TS]

  bit of historical context which a lot of [TS]

  people for this film would like to would [TS]

  like to make all about oh how the movie [TS]

  was marketed how the movie was marketed [TS]

  does that in the other I don't really [TS]

  care about that what I care about is in [TS]

  the context of comic book movies there [TS]

  are a few historical signposts that [TS]

  people should just adjust their [TS]

  chronometer 'he's in their minds to not [TS]

  only was this pre nine [TS]

  11 this was also just after Batman and [TS]

  Robin and blade those are the most [TS]

  recent comic book movies to have come [TS]

  out and it was a full two years before [TS]

  Sam Raimi's spider-man the this this was [TS]

  a completely different world of [TS]

  quote-unquote comic book movie than what [TS]

  we face today it was kind of a desert of [TS]

  comic book movies in many ways and and [TS]

  and i think it's it's fascinating to [TS]

  look at it back now 17 years later as [TS]

  someone deciding to make a movie of this [TS]

  type with certain genre tropes that were [TS]

  very very familiar with one might say [TS]

  too familiar well at this point and and [TS]

  look at the notion of grounding gritty [TS]

  real-life superheroes in ways that [TS]

  doesn't require them to hit each other [TS]

  over the head with toilets interesting [TS]

  reference their reference acknowledged [TS]

  yeah i think you make some very good [TS]

  points it's it's i was going to say [TS]

  later on but i'll just say it now you [TS]

  know when you've seen 80 different [TS]

  origin story movies you get a little [TS]

  tired of an origin story and then I was [TS]

  watching this saying you know this is an [TS]

  origin story too but I not told in the [TS]

  same way and it's not a familiar origin [TS]

  and it isn't like the third time we've [TS]

  seen spider-man's origin and like 10 [TS]

  years and so it's a little bit different [TS]

  dan did you have a opening statement [TS]

  quick comment just setting my own [TS]

  context for seeing this I i frequently [TS]

  allude to this i think you know to to [TS]

  pick up Moises is through a thread about [TS]

  marketing I figured Leah Lutz this as I [TS]

  think the my favorite and possibly one [TS]

  of the best movie trailer zephyr because [TS]

  there's a movie trailer for this movie [TS]

  that's probably all of a minute and a [TS]

  half long or something like that and it [TS]

  gives away absolutely nothing about this [TS]

  movie I mean basically it's that scene [TS]

  from the beginning where he's in the [TS]

  hospital and that's it and so I was not [TS]

  a pro I did not see the sixth sense [TS]

  because I was not really like sort of a [TS]

  creepy movie aficionado at that point [TS]

  and so I knew basically nothing about [TS]

  this going in and to me it remains one [TS]

  of the great surprises of that era of [TS]

  movies where I went into a movie really [TS]

  having zero [TS]

  idea what it was about and found myself [TS]

  completely blown away and there are some [TS]

  choices in here that are not a hundred [TS]

  percent but i think you know overall it [TS]

  was the fact that it it took me [TS]

  completely by surprise and so too often [TS]

  i think we all agree that movie trailers [TS]

  seem to give up all too much of these [TS]

  movies and like you can watch it two and [TS]

  a half minute trailer and it basically [TS]

  it's like I I don't need to see that now [TS]

  and so it was the refreshing even at [TS]

  that point to see a movie trailer that [TS]

  indeed lived up to the name of a teaser [TS]

  where it gave you just enough to want to [TS]

  go see the movie and that was about it [TS]

  you're gonna grab on my thread I'm going [TS]

  to grab on yours I completely agree and [TS]

  and people would argue that the plots [TS]

  narrative twist or turn toward the end [TS]

  of the movie is the twist and it's part [TS]

  of his whole gimmick but I feel like his [TS]

  subversion of expectation is is [TS]

  something that yeah there's that at the [TS]

  end of the movie that you can point to [TS]

  from a structural perspective but i [TS]

  think that the bigger twist is is [TS]

  specifically that in setting it up as [TS]

  this is something that you want to see [TS]

  and not explaining every last little bit [TS]

  of what this movie is going to be what [TS]

  it is about and leaving that a mystery [TS]

  is the most effective twists in in this [TS]

  in this movie and in this era of his [TS]

  filmmaking this is a movie about a [TS]

  superhero's origin story that was not [TS]

  marketed as being even in the superhero [TS]

  genre for people who don't remember the [TS]

  sixth sense was a huge hit unexpected it [TS]

  has a huge twist at the end it's one of [TS]

  those famous movie twists you're not [TS]

  supposed to spoil [TS]

  Bruce Willis is dead the entire time by [TS]

  the way cuz look what I did there I've [TS]

  been dead for this last five years of [TS]

  these podcasts but nobody talks about [TS]

  that well we all knew that damn not a [TS]

  twist so Shyamalan came from nowhere had [TS]

  this huge hit so there was there was a [TS]

  lot of pressure on him a lot of like [TS]

  what's the what's the follow-up gonna be [TS]

  worried about the sophomore slump how is [TS]

  he going to top himself all of these [TS]

  things and this is a funny movie for [TS]

  that because then after this you know we [TS]

  can we can debate the various films that [TS]

  he made after this I think he made you [TS]

  know I yeah we could debate it but he [TS]

  certainly doesn't go to a justly [TS]

  maligned you can hear defenses of many [TS]

  of them yeah exactly but he's definitely [TS]

  got my reputation and and although i [TS]

  will say in the last few years he's kind [TS]

  of worked his way back to sort of [TS]

  rebuilding his uh his credibility a [TS]

  little bit at the box office keep in [TS]

  mind it and this is this is a man who [TS]

  engendered so much let's just say man I [TS]

  I hesitate to call hatred but I've never [TS]

  I have never been in a movie theater and [TS]

  seeing someone's name get booed before [TS]

  and I trailer I mean is realer oh it was [TS]

  it was crazy like that is just a like a [TS]

  phenomenon that I have never seen since [TS]

  or before and that like shows you just [TS]

  how much strong feelings people have [TS]

  about this guy love them or hate him you [TS]

  know it's better especially hatem it [TS]

  seems but it's fascinating and and it's [TS]

  weird for me coming from perspective of [TS]

  and I'll put my cards on the table here [TS]

  I love this movie I don't think it's [TS]

  perfect but I really love it I love it [TS]

  because it was so unexpected I love it [TS]

  because I do love this exploration of of [TS]

  comic book superhero ideas without you [TS]

  know without it being explicit at least [TS]

  at first and and in a grounded way that [TS]

  you know you're Batman and Robin's were [TS]

  not at the time and it's actually kind [TS]

  of hard to express love of any movie by [TS]

  mem night Shyamalan because people do [TS]

  roll their eyes because he really has [TS]

  got this uh you know reputation in in [TS]

  some circles but I I would for I would [TS]

  argue that this is a legitimate [TS]

  good movie and that's why I decided we [TS]

  were gonna talk about it so thanks for [TS]

  coming on the podcast everybody I think [TS]

  Shyamalan over overall you know despite [TS]

  the bad rap in the in the flawed movies [TS]

  he's made he still stands out in my mind [TS]

  as a director who makes choices there's [TS]

  something very deliberate about his [TS]

  filmmaking and I think that that that [TS]

  shows through in a way that if you watch [TS]

  you know a ton of different films that [TS]

  come out these days or in the last [TS]

  decade or two there's a lot of stuff [TS]

  that won't leave an impact on you one [TS]

  way or the other because it feels very [TS]

  bland it feels as though there have not [TS]

  been any risks taken it feels as though [TS]

  everything is sort of cookie cutter and [TS]

  I feel like again once despite all the [TS]

  other things you can say about Shyamalan [TS]

  he makes distinct choices he does things [TS]

  for purpose and reason I think you know [TS]

  he every shot is intended to have a [TS]

  meaning behind it and he comes across as [TS]

  Hitchcockian to me in his best moments [TS]

  it's not all of his moments but like [TS]

  that to me is you know I think he's one [TS]

  of a very few number of directors [TS]

  especially working in sort of these [TS]

  pulpy genre films who really seems to [TS]

  know what he's about and what he's doing [TS]

  making choices is is one of the things [TS]

  that that I was really noticing when I [TS]

  rewatched this for the podcast and that [TS]

  but I respect this movie and I respect [TS]

  him as a director because it was so [TS]

  clear that he was taking care with with [TS]

  all of the shots with all the choices [TS]

  that he made some of them were not [TS]

  choices that led me to enjoy the movie [TS]

  anymore but I thought they were good [TS]

  solid choices so it's it's kind of this [TS]

  thing where I really respect it and [TS]

  think it is a good film but don't [TS]

  necessarily want to jump into rewatching [TS]

  it again any time super soon yeah [TS]

  deliberate is exactly the word to [TS]

  describe his filmmaking and he's very [TS]

  deliberate in his pacing he's very [TS]

  deliberate in his choices his framing [TS]

  his cement cinematography and he's very [TS]

  deliberate when it comes to crafting the [TS]

  story that he wants to craft regardless [TS]

  of what else is going on in the [TS]

  cinematic world you know like his films [TS]

  are different and I don't think they're [TS]

  different because he tries to make them [TS]

  differ [TS]

  I think they're different just because [TS]

  he tells the story the way he wants to [TS]

  tell it without much regard to what else [TS]

  is going on and that really shines [TS]

  through and that's where a lot of the [TS]

  the hatred comes from and the the [TS]

  unhappiness from the audience because [TS]

  people go to the movies and they expect [TS]

  certain things and he's not afraid to [TS]

  subvert those expectations and some [TS]

  people love it and some people don't all [TS]

  right let's dive into the plot and then [TS]

  when you guys will i'm sure all stop me [TS]

  when you want to say something because [TS]

  that's what happens in this podcast it's [TS]

  sort of our thing now when i go through [TS]

  the plot but uh i think that's a good [TS]

  place to start is just gonna walk [TS]

  through the plot and see what pops out [TS]

  at us when i went to see this movie for [TS]

  the first time and the texture it's [TS]

  popping up on the screen and talking [TS]

  about comic books i was like what the [TS]

  hell is this movie you're good to point [TS]

  that out dan that this is that this [TS]

  movie starts with several lines of text [TS]

  talking about comic books and how many [TS]

  comic books are sold and it is kind of a [TS]

  funny moment this is why sometimes we'll [TS]

  get to the end when at the end but [TS]

  sometimes when I hear people say like oh [TS]

  I can't believe what happens at the end [TS]

  and all that's like i watch this movie [TS]

  now and I think it's also are there it's [TS]

  all there in fact you could have done [TS]

  and you could have done without the [TS]

  comic book thing and I remember watching [TS]

  this with a friend of mine who was [TS]

  really into comics at the time and he [TS]

  was like he felt I want to say exactly [TS]

  like he felt it was appropriate of but [TS]

  he's like oh yeah it's just someone else [TS]

  trying to prove how comics are cool and [TS]

  it seems it just seems a little forced [TS]

  and maybe I don't know if this was a [TS]

  choice on his part or get a choice on [TS]

  someone else as far as like you need to [TS]

  justify what you're making movie about [TS]

  comic book you know what shevlin is [TS]

  trying to do here is is he's posing a [TS]

  little puzzle for the audience right [TS]

  which is what is this movie that I'm [TS]

  about to show you have to do with comic [TS]

  books like and then it's almost like he [TS]

  just plants it and like now you can [TS]

  forget about it which I did the next [TS]

  scene is also like you could forget [TS]

  about it and then you were reminded of [TS]

  it later and I think that's kind of [TS]

  interesting that he's like I'm just [TS]

  gonna leave this here pay no attention [TS]

  and you know but then if we watch it [TS]

  again you're like oh yeah he's laying it [TS]

  all out there you just you may not know [TS]

  what to do with it but you're laying it [TS]

  all out there and likewise when we see [TS]

  the scene of a baby being born [TS]

  department store in Philadelphia in 1961 [TS]

  the that you know we leave that for a [TS]

  long time before we finally go back and [TS]

  there's another flashback more like oh [TS]

  yeah the baby at the beginning right [TS]

  because it's it's a being deliberate [TS]

  with it the the scene where Elijah prize [TS]

  is born in the department store is a a [TS]

  beginning I mean the directors presence [TS]

  is felt throughout this film and this is [TS]

  a scene where it's absolutely felt [TS]

  there's a mirror there are people [TS]

  there's a woman on the floor who's just [TS]

  giving birth to this baby who's crying [TS]

  there are people coming in that are [TS]

  behind us we are seeing them through the [TS]

  mirror at various points we also the [TS]

  camera moves and shifts the perspective [TS]

  so you look back at them and then back [TS]

  in the mirror it's a really interesting [TS]

  scene of this baby who the doctor comes [TS]

  and asked if ever anybody has dropped [TS]

  the baby because the baby has many [TS]

  broken bones and that's why it's crying [TS]

  the look on aim and walkers face in that [TS]

  delivery is also fascinating because [TS]

  it's there's a the horror on his face to [TS]

  a certain extent is just really [TS]

  disconcerting and again I remember [TS]

  watching that for the first time and and [TS]

  still trying to figure out what kind of [TS]

  movie this was and wondering if there's [TS]

  yeah like is it disfigured like what is [TS]

  what is happening and I didn't realize [TS]

  you and this time watching it again I [TS]

  think I got a different a slightly [TS]

  different spin on it because there's [TS]

  almost a like there's almost a racial [TS]

  overtones the 60s they call for a black [TS]

  doctor for him right right call for [TS]

  black doctor and the way he looks at the [TS]

  white women like did you did you drop [TS]

  the baby like you know is it's there's a [TS]

  charged bit of it there and then the [TS]

  mirror shot that you point out which [TS]

  with the first several times that we see [TS]

  this character he's always in reflection [TS]

  and of course I'm I notice is like I [TS]

  n-nice use the mirror and then after [TS]

  that it goes its glass which i think is [TS]

  intentional right like oh yeah yeah it's [TS]

  an inflectional glass again he's making [TS]

  choices there may be a little ham-fisted [TS]

  in retrospect but you don't see them [TS]

  going in I want to take a brief break to [TS]

  remind you about how you can support [TS]

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  I hadn't seen this for years and what [TS]

  the very first thing I wrote down in my [TS]

  notes after the first couple of scenes [TS]

  was very unsettling in the beginning and [TS]

  you know it going back to those title [TS]

  cards with with the the text about the [TS]

  comics it's like okay we're talking [TS]

  about comic books that's fairly light [TS]

  hearted subject and then we go into the [TS]

  scene with the baby who's got broken [TS]

  bone since like wow and like like you [TS]

  said like that's a very emotionally [TS]

  charged seen you can feel the tension in [TS]

  that room and it's like we went from [TS]

  comic books to this and like by the time [TS]

  the that scene ends I forgot the the [TS]

  comic text like it's gone like and then [TS]

  we go to the train and on the train he's [TS]

  sitting there and you know this very [TS]

  awkward uncomfortable feeling and it's [TS]

  just like like a roller coaster of [TS]

  emotions it doesn't let you get your [TS]

  footing at all and I think that's very [TS]

  intentional and I think it helps to [TS]

  sweep you off of wherever you are coming [TS]

  into the movie and getting you ready for [TS]

  like whatever he's going to throw at you [TS]

  nets because it almost puts you on the [TS]

  defensive in a good way I agree and I [TS]

  think something that is present [TS]

  throughout the whole movie and that we [TS]

  see here in in both the the way that we [TS]

  we get these first two transitions at [TS]

  the very beginning of the movie as well [TS]

  as the framing throughout which would [TS]

  consider i mean the cinematography [TS]

  choices that are made are oh this is [TS]

  weird this is strange oh why are we [TS]

  doing the the bobbing back and forth [TS]

  perspective of a little girl the thing i [TS]

  found most fascinating about that [TS]

  looking back at it it is really some of [TS]

  the most comics inspired panel layout [TS]

  design that I've son cinematically to [TS]

  this date and there are a ton of billion [TS]

  dollar comic book movies that have been [TS]

  made that don't have the kind of really [TS]

  arresting visuals that this does in the [TS]

  first two micro scenes and that the big [TS]

  thing about comic storytelling that you [TS]

  know you you read any of the different [TS]

  books that have been made by people who [TS]

  really know their stuff when it comes to [TS]

  comic story telling is that each page [TS]

  ends on a cliffhanger and that's the way [TS]

  that he structures the scenes where we [TS]

  get a little bit of information but [TS]

  we're left just off kilter enough [TS]

  and wanting to propel forward just [TS]

  relentlessly throughout the movie you [TS]

  know they're people who have issues the [TS]

  pacing I think they can go jump off a [TS]

  bridge because that that might be a more [TS]

  useful I've it might be superheroes oh [TS]

  it could be they could be because this [TS]

  movie told me that everybody should be a [TS]

  superhero they could be just got to [TS]

  think about it a certain way but there [TS]

  that that particular bit of I guess you [TS]

  would say danger of being a little bit [TS]

  off-kilter just in the amount of [TS]

  information you get it doesn't feel [TS]

  artificially done to to a frustrating [TS]

  level but it's enough that you you don't [TS]

  feel like all the cards are being held [TS]

  by somebody else and you're being fooled [TS]

  and you know the kinds of the kinds of [TS]

  dynamics that you that you see in [TS]

  suspense or thriller movies that end up [TS]

  making a go out come on or the stuff [TS]

  that a lot of people came to associate a [TS]

  lot of his later work with which is all [TS]

  right fine okay great you get me once or [TS]

  twice but on the third time I'm done [TS]

  with you there are a lot of things in [TS]

  here as we go through we'll probably [TS]

  talk about how they are uncommon book [TS]

  movie like in in the way in the choices [TS]

  that are made in the things we don't see [TS]

  there are basically I mean I know there [TS]

  are special effects that you don't see [TS]

  but there are basically no special [TS]

  effects in this movie that's an [TS]

  interesting choice some choices for [TS]

  spectacular action or you know least [TS]

  spectacle scenes aren't are avoided [TS]

  they're not shown like the train crash [TS]

  lots of interesting decisions that are [TS]

  made that make this feel like a very [TS]

  different kind of movie and the [TS]

  deliberate the slow build like here we [TS]

  get we get a flashback and if we get the [TS]

  title card we got a flashback and then [TS]

  we get the train scene which is Bruce [TS]

  Willis is on a train and he's looking [TS]

  out the window and you know and a woman [TS]

  sits down next to him and they have a [TS]

  conference he takes off his wedding ring [TS]

  which is a you gotta be gotta be paying [TS]

  attention but he takes off his wedding [TS]

  ring slides it off we don't know that [TS]

  we're immediately put on the the wrong [TS]

  foot with him like but will Bruce Willis [TS]

  is the star of this movie and the first [TS]

  thing he does you know is implying happy [TS]

  that he's dead he's cheating on his wife [TS]

  and [TS]

  and he he tries to have a conversation [TS]

  with him then pick up the young sports [TS]

  agent who sits down next to him and that [TS]

  gets really painful and awkward and then [TS]

  she leaves and also he's being kind of [TS]

  watched from the row in front of him by [TS]

  a kid sort of upside down at one point [TS]

  and not for the last time upside down [TS]

  that's also a trope that gets rehabbed [TS]

  several times but we get to see the [TS]

  whole awkward conversation that he has [TS]

  with the sports agent and and then he [TS]

  puts his wedding ring back on and the [TS]

  you know then the scene ends with him [TS]

  looking at the window and the train [TS]

  starts honking its horn uh you know and [TS]

  and the the noise we will watch this and [TS]

  I've got the 5.1 audio system and [TS]

  there's a lot of really great surround [TS]

  and subwoofer in this movie again with [TS]

  care it builds and is loud and the train [TS]

  gets louder and louder and louder as [TS]

  we're getting to that moment where it's [TS]

  going to crash and then hard cut silence [TS]

  and it's a it's pretty spectacular yeah [TS]

  there's there's two things that I wanted [TS]

  to call out with the scene and one of [TS]

  them is right in the beginning right [TS]

  when it opens with Bruce Bruce was like [TS]

  putting his head against the window [TS]

  watching the world go by where it just [TS]

  opens the look on his face tells you so [TS]

  much about his character just just [TS]

  looking out that window and that is like [TS]

  the the first of many little moments [TS]

  throughout the movie that just have like [TS]

  a wealth of character building in a [TS]

  single scene or a single sequence and [TS]

  it's just it's wonderful and then the [TS]

  second thing was was again that that kid [TS]

  in the front like they show the kid you [TS]

  know initially and then we we go to her [TS]

  and his conversation with what the lady [TS]

  that he's trying to pick up and then we [TS]

  go back to the kid and I thought that [TS]

  was a wonderful way to bookend that [TS]

  sequence this is almost a short movie in [TS]

  and of itself but I got fail yeah pick [TS]

  up a lady and there's so much good thing [TS]

  packed in here from the body language I [TS]

  just the scene where she were the bit [TS]

  where she says I'm married and sort of [TS]

  like she crosses her arms across her [TS]

  chest everything gets super aqua [TS]

  heard all of a sudden there's [TS]

  foreshadowing when she talks about the [TS]

  quarterback at the college right he's [TS]

  gonna be a god and as we later realize [TS]

  this is you know sort of evidence of his [TS]

  own his own road not taken right plus we [TS]

  see that guy later which is a rare yes [TS]

  sad nice touch twice twice actually i [TS]

  believe ya sees him playing football and [TS]

  then he sees him with the kids rom and [TS]

  the fear of water is brought up very [TS]

  early when he talked about not being [TS]

  able to be a synchronized swimmer right [TS]

  like all of this is just all packed in [TS]

  and like you know like Justin said like [TS]

  it's so economical and yet accomplishes [TS]

  so many things in such a short little [TS]

  time and it's very very realistic I mean [TS]

  if you have ever if a guy has ever sat [TS]

  down next to you and tried to pick you [TS]

  up not sure if that's happened but it [TS]

  has to me and yeah that is that is [TS]

  exactly the kind of awkward that it [TS]

  feels like yeah and another thing about [TS]

  this scene is the you know the sequence [TS]

  from the camera moving left and right [TS]

  from the seat in front right we're for [TS]

  yours here we are we're watching the [TS]

  Apple happen between the crits the crack [TS]

  between the two seats if the r of the [TS]

  row ahead is how we see the whole thing [TS]

  the other thing that the the camera work [TS]

  here accomplishes you know in in [TS]

  addition to the sense of voyeurism is [TS]

  the fact that you only see one character [TS]

  at a time you either see Bruce or you [TS]

  see her and through that you know [TS]

  through that framing he's able to direct [TS]

  the audience the audience's focus [TS]

  exactly where he wants it like if he [TS]

  wants you to see her body language when [TS]

  he's saying something he does that but [TS]

  it's not forced and it's not something [TS]

  you notice when you're watching the [TS]

  scene it's just it's so well done from [TS]

  top to bottom like dan like you said [TS]

  it's like a movie in a scene right here [TS]

  and I just I love it to do like like [TS]

  Justin I had not watched this movie in [TS]

  years although I've seen it several [TS]

  times and what amazed me about it was [TS]

  how much shots stuck with me there are [TS]

  just images and scenes and like [TS]

  composition shots that have stuck that I [TS]

  immediately recognized immediately [TS]

  remembered that even though I haven't [TS]

  seen this movie [TS]

  decade probably like it was amazing how [TS]

  much of that stuck with the ants it's a [TS]

  testament to the cinematography in the [TS]

  direction here is just like these again [TS]

  the choices made they stick with you [TS]

  because they are deliberate and they are [TS]

  they are very measured in the way that [TS]

  they accomplish you know like try to [TS]

  accomplish a specific message through [TS]

  not only what's being done on screen but [TS]

  how it's being shown he uses a bunch of [TS]

  old cinema technique stuff that you [TS]

  would see in Hitchcock that are things [TS]

  that things things people try to emulate [TS]

  these days from those you know old [TS]

  masters as it were tend to be the more [TS]

  gimmicky stuff and not the direct [TS]

  directed attention filmmaking is Justin [TS]

  alluded to so the train crash happens [TS]

  off-screen because our our next scene is [TS]

  actually a boy upside down watching a TV [TS]

  watching the TV and this is this is we [TS]

  learn this is Bruce Willis who is david [TS]

  dunn this is his son he's watching TV he [TS]

  flips around we get a little Powerpuff [TS]

  Girls happen in the middle there and [TS]

  then we end up with the scene of a [TS]

  terrible train derailment and then he [TS]

  turns back around right side up and [TS]

  looks at this and and goes over to the [TS]

  calendar in the other room to see this [TS]

  the sticky note that says that that's [TS]

  his dad's train and then the next scene [TS]

  after that is a scene in the hospital [TS]

  where Bruce Willis is he sits up and in [TS]

  the foreground they're working on a [TS]

  patient and if you're focused on Bruce [TS]

  Willis in the background by the way you [TS]

  will you will miss the blood begin to [TS]

  read across that bridge occasion shot so [TS]

  there's a lot house a lot happening at [TS]

  the beginning of this movie and and in [TS]

  the background the conversation is [TS]

  happening between Bruce Willis and a [TS]

  doctor about the fact that he's trying [TS]

  to figure out like were you sitting in a [TS]

  special place you know that this [TS]

  happened and Bruce Willis doesn't really [TS]

  understand what's going on i get i get [TS]

  the sense from this that he's been [TS]

  unconscious until this point but then [TS]

  you know he's about to be after this guy [TS]

  dies basically he's about to be the last [TS]

  survivor between crash [TS]

  he doesn't have a scratch on him this [TS]

  scene is framed perfectly it's shot [TS]

  perfectly that's slow zoom plus the [TS]

  blood plus like the the audio work like [TS]

  it's it's all just spot-on and lets I [TS]

  mean let's couple this scene with the [TS]

  immediate following scene which is also [TS]

  amazing which is it's all the people all [TS]

  the people waiting at the hospital for [TS]

  word about their loved ones we know and [TS]

  we I think we may be are hearing the [TS]

  last words of the doctor as that scene [TS]

  begins which is we know everybody else [TS]

  on the train died which means everybody [TS]

  waiting at the hospital is waiting in [TS]

  vain their loved ones are dead and he is [TS]

  walking out of there with his kind of [TS]

  messed up clothes but he's just walking [TS]

  out without the the the scratch on him [TS]

  and then you know his his son sees him [TS]

  and runs to him and was a nice pan shot [TS]

  like sort of a dolly shot around him and [TS]

  just the looks on everyone's faces in [TS]

  that scene are almost chillin I think [TS]

  and what are they thinking or looking at [TS]

  him one of these think what are they [TS]

  thinking are they thinking well if this [TS]

  guy survived maybe somebody else did are [TS]

  they are they angry at him because he's [TS]

  revived during grade him to me it always [TS]

  looks like that no mm-hmm the thing that [TS]

  I like about this scene is as they're [TS]

  walking out of the hospital first you [TS]

  get the kid putting his parents hands [TS]

  and in each other and like you you see [TS]

  immediately what's going on and then as [TS]

  they're walking they they drop the hand [TS]

  so like all this you know the context of [TS]

  the first scene of him taking his his [TS]

  wedding ring off and putting in his [TS]

  pocket it makes so much more sense now [TS]

  like okay he's not necessarily the [TS]

  complete slimeball that I maybe thought [TS]

  he was in that earlier scene they are [TS]

  having trouble maybe they're even [TS]

  separated like I wasn't exactly sure [TS]

  what was what was going on with that [TS]

  it's just economy at once again economy [TS]

  and deliberateness of the framing of the [TS]

  shots you know so much more about what [TS]

  is going on now the the information [TS]

  that's been given in such a tight amount [TS]

  of time is pretty fantastic yeah we're [TS]

  what like five minutes into the movie [TS]

  yeah yeah like we have all of this [TS]

  information and we're just barely into [TS]

  it it's very much like an issue of a [TS]

  comic book and you get a gigantic amount [TS]

  of information thrown in [TS]

  you're mine in six frames so i could see [TS]

  one of the criticisms of this film being [TS]

  that it that it does it is deliberate [TS]

  and you could say that the pacing is is [TS]

  slow in some ways I think what shemal n [TS]

  is doing here is downloading us enough [TS]

  that we are willing to take it slow as [TS]

  there as the discovery happens I think [TS]

  that's what at least what he's trying to [TS]

  do because we have just spent a lot of [TS]

  time talking about the first maybe five [TS]

  minutes the first three or four scenes [TS]

  of this film but I think that's what [TS]

  he's doing right he's saying okay I'm [TS]

  gonna give you everything you need to [TS]

  know I'm gonna be economical about it [TS]

  and then you're gonna be you're gonna be [TS]

  interested enough to follow me from here [TS]

  yeah and it almost worked I was I was [TS]

  really interested in all of this it's [TS]

  just I think and actually i might as [TS]

  well talk here about another one of the [TS]

  deliberate choices which which you have [TS]

  seen at this point and that is the the [TS]

  color palette of this film and the [TS]

  writing is very very deliberately just [TS]

  sort of dull and and the pacing also [TS]

  sort of feels deliberate and I don't [TS]

  want a dull on the on the pacing because [TS]

  that's that's not quite right but it is [TS]

  it is it is showing you that this is [TS]

  this is an ordinary guy this is a schlub [TS]

  he is he's just a dude and and I feel [TS]

  like these first few scenes have really [TS]

  have really built that very well and I [TS]

  was interested but as we go on it's like [TS]

  yep he continues to be just an ordinary [TS]

  guy for quite a long time and I just [TS]

  don't care about him that much that's [TS]

  what I agree I I think I think yeah you [TS]

  I I think you could argue that the that [TS]

  it goes a little too long in that [TS]

  interim where he is sort of unclear and [TS]

  that they do a couple of things you know [TS]

  he has a couple of conversations with [TS]

  Samuel Jackson it's like I don't know if [TS]

  you really needed them but but I think [TS]

  it is interesting here you mentioned the [TS]

  color palette and I want to get back to [TS]

  that but the color palette is dull [TS]

  except when it's not and that's an [TS]

  interesting choice that he makes it's [TS]

  like the color palette is is faded so [TS]

  that he can have certain bursts of color [TS]

  to represent beside things well and and [TS]

  in Samuel Jackson's purple area things [TS]

  yeah yeah the ball the people that he [TS]

  bumps into and exactly accentuates the [TS]

  red in their coat or the green in there [TS]

  should everything else is cream and [TS]

  white and gray and [TS]

  well this is color in general too i mean [TS]

  because not only Samuel Jackson's use of [TS]

  purple but the fact that David mostly [TS]

  wears green in both in his sort of dirty [TS]

  uniform as well see wearing a green [TS]

  shirt at the beginning you know [TS]

  obviously everything is chosen and those [TS]

  again superhero tropes right like even [TS]

  when you have those superheroes wear [TS]

  even when they're in their cities [TS]

  they're always wearing the color sure of [TS]

  their superhero outfit right like it's a [TS]

  little key a little cheat sheet for you [TS]

  so you get that let's not forget that [TS]

  his initials are are you know he's david [TS]

  dunn he's a TT he's a superhero doubled [TS]

  initial person Tim and also I want to [TS]

  draw attention here although it said you [TS]

  know sort of throughout the music James [TS]

  Newton Howard score for this is [TS]

  fantastic i love this score really great [TS]

  good for me I mean people people have [TS]

  issues of the pacing and I think that's [TS]

  perfectly fine but something that that [TS]

  at the time I liked was that it wasn't [TS]

  trying to tell the pace of somebody [TS]

  else's version one of these types of [TS]

  stories I really dug hanging out with [TS]

  sad Superman long without a bunch of [TS]

  special effects or building's exploding [TS]

  I'm a fan of movies that are kind of a [TS]

  slow burn like this and I think it [TS]

  really because it takes to heart that [TS]

  idea of like what if there really was a [TS]

  superhero in our world how would that go [TS]

  and the answer is it would take you a [TS]

  long time to be willing to accept that [TS]

  you might be a Sierra right like you [TS]

  would not believe that you would think [TS]

  that dude is crazy and so I you know [TS]

  going down that route and not just being [TS]

  like having it turn into a superhero [TS]

  movie and I feel like there are movies [TS]

  the movie that comes to mind which my [TS]

  most frustration with this was a [TS]

  kick-ass which is a movie that is like [TS]

  hey what if you a like what if you were [TS]

  superheroes in real life and then it [TS]

  just buys into its own hype which I feel [TS]

  like this movie never quite does it sort [TS]

  of keeps it at a distance because it's [TS]

  trying to ground it in our world even if [TS]

  parts of it are unbelievable while the [TS]

  slow-burn here doesn't work for me so [TS]

  much I still applaud it because I [TS]

  actually I do like a slow burn it's just [TS]

  I tend to be a very character centric [TS]

  viewer so if there are characters that [TS]

  I'm [TS]

  stood in during a slow burn I am on [TS]

  board and i love it in this case just [TS]

  that the sheer ordinariness of this [TS]

  person is integral to the story and [TS]

  because he's so ordinary I didn't really [TS]

  like him much so so that's that's the [TS]

  only reason I wasn't on board so this is [TS]

  one of those choices that he made to to [TS]

  pace it and color it this way that I [TS]

  think is fantastic from a moviemaking [TS]

  standpoint I think it makes it a very [TS]

  good film it just makes it a film that [TS]

  I'm less interested in in watching like [TS]

  I I am having more fun talking about it [TS]

  with you guys then I was watching this [TS]

  part of the film well well this part I [TS]

  mean it's not it's it is yeah it's hey I [TS]

  only watch I love this movie and I only [TS]

  watch it every five years or so it's not [TS]

  one of those ones i'll hop on any rainy [TS]

  day that that comes along so i wanted to [TS]

  mention the next scene and and and this [TS]

  is where the story really i mean well [TS]

  the plot summary really starts to move [TS]

  erica because there's not a lot that [TS]

  happens but but if you couple the scene [TS]

  where there is the the memorial service [TS]

  for the victims of the crash with the [TS]

  scene as he's walking out in the [TS]

  hospital what I thought about during all [TS]

  of that and the memorial seen you know [TS]

  it serves a purpose at the end because [TS]

  he finds a note stuck under his [TS]

  windshield but I I think in terms of [TS]

  superhero origins you know how Peter [TS]

  Parker didn't save didn't stop the [TS]

  robber and he killed his uncle band and [TS]

  great power comes great responsibility [TS]

  part of what's going on here I feel like [TS]

  in these two scenes is a classic [TS]

  superhero thing which is why were you [TS]

  the only one to survive what's what [TS]

  makes you special are you meant to do [TS]

  something more do you need to prove that [TS]

  it was you know that that you being [TS]

  saved was right and that you need to you [TS]

  need to be worth worthy of that and then [TS]

  it is hammered home again by the fact [TS]

  that you know he goes to this I mean he [TS]

  goes to this thing and he's the only [TS]

  survivor and they're in the memorial [TS]

  service for all the people who died and [TS]

  then he comes although I did wonder [TS]

  where he parked he must park in weird [TS]

  locations because there's like the whole [TS]

  city is mourning the people with that of [TS]

  the train wreck and there's a whole [TS]

  memorial service and yet his truck is [TS]

  parked in a completely empty parking lot [TS]

  so I guess maybe he was avoiding the [TS]

  media I don't know okay the memorial [TS]

  service is interesting too is it because [TS]

  I was paying more attention to it this [TS]

  time and pay attention to the [TS]

  he what they say about the people who [TS]

  died you've got like a leukemia [TS]

  researcher a third grade teacher yes [TS]

  social worker who are you sir all good [TS]

  people right like that's that's [TS]

  fascinating to me and right who are you [TS]

  why or why did you get saved in all [TS]

  these good people notice they don't [TS]

  mention like oh the sports agent who is [TS]

  kinetic money up the quarterback yeah [TS]

  she does not get a mention yeah but it [TS]

  sure distances all of them from well [TS]

  rent a cop you're not exactly gonna cure [TS]

  cancer or yeah yeah seriously so I like [TS]

  I like that because it just it feels in [TS]

  hindsight especially knowing what this [TS]

  movie is actually doing here it feels [TS]

  very much like this is one of his [TS]

  motivators is Who am I going to be you [TS]

  know I survive this and nobody else did [TS]

  what what am I going to do to live up to [TS]

  that just in the back it doesn't movie [TS]

  doesn't say that but that's how that's [TS]

  the feeling I get from these two scenes [TS]

  he gets though a note under his [TS]

  windshield from Elijah price we find out [TS]

  that is asking him the question of if [TS]

  he's ever been sick in his life and so [TS]

  it's like prompting him even more like [TS]

  oh is this not were you not just lucky [TS]

  maybe this is a bigger issue here two [TS]

  things I love about the note are that [TS]

  one this is the first like really purple [TS]

  thing like what the inside of that in [TS]

  mobile vibrant yeah it's like this [TS]

  vibrant purple and it's like it stands [TS]

  out you know cuz you know Erica like you [TS]

  said that the rest of the movie is so [TS]

  muted when it comes to colors and it's [TS]

  like wow that's that's purple in there [TS]

  and then the other thing is that the [TS]

  content of the note asks about being [TS]

  sick it doesn't ask about being injured [TS]

  ask about being sick so it starts to [TS]

  hint at the dimension of his powers and [TS]

  his abilities and his differences and [TS]

  it's like it's not just that he can't [TS]

  get hurt it's like there's more to it [TS]

  than this and i love that the only thing [TS]

  that I don't like about the note is it's [TS]

  it's where the movie breaks a little bit [TS]

  for me I mean I get that he's an [TS]

  ordinary guy but the idea that he didn't [TS]

  know if you'd ever been sick that's that [TS]

  strains my credulity a little bit i mean [TS]

  guess he must have been an only child [TS]

  because he didn't have his parrots [TS]

  comparing you know his number of sick [TS]

  days with with anybody else's but you [TS]

  know not knowing if you've ever taken a [TS]

  sick day in the however many years he's [TS]

  he's worked there and and it in your [TS]

  entire life to a little too far I i I'm [TS]

  kind of okay with it because i think it [TS]

  is that idea of like you don't notice [TS]

  these things sometimes if you're not [TS]

  really paying attention to it like if I [TS]

  you know and I think it really depends [TS]

  like there are definitely people I know [TS]

  who can give you the chronicle of like [TS]

  every time they've been ill over the [TS]

  last couple years and then I know people [TS]

  and and I fall in this category mostly [TS]

  is like yeah I can think of incidence [TS]

  where I was legitimately sick but you [TS]

  know I don't I certainly don't think [TS]

  about all the days when I wasn't sick [TS]

  and so I feel like I know a lot of [TS]

  people who are the other way around like [TS]

  oh I never heard Sam yeah I don't know [TS]

  but I it works for me because I feel [TS]

  like it is this idea as he starts to [TS]

  explore that and he's realizing like [TS]

  yeah do I really not like if you're just [TS]

  sort of out of it and like kind of [TS]

  occupied with other things and we know [TS]

  he's had this sort of malaise right like [TS]

  almost that's true that him just being [TS]

  like they're somewhat depressed if [TS]

  anything okay you've made it better yeah [TS]

  all right at some point in here we see [TS]

  our other flashback with Elijah which is [TS]

  when he's a little boy and he's looking [TS]

  out the window and his mom basically [TS]

  coaxes him outside by saying I put a [TS]

  present on the bench across the street [TS]

  and it's a comic book and I bought a lot [TS]

  of these comic books and every time you [TS]

  go outside you can have a comic book so [TS]

  we see the route of Elijah's interest in [TS]

  comics which is tied with his mother [TS]

  trying to get him out of the house cuz [TS]

  he just doesn't want to go outside [TS]

  because he's afraid of the world because [TS]

  he's afraid the world is gonna hurt him [TS]

  my suspense please wait wait who puts a [TS]

  present on a bench across I can for this [TS]

  too they also address it immediately [TS]

  which is that she put it there on [TS]

  purpose right like you know you and he [TS]

  says what it someone's gonna take it and [TS]

  she says well you better get out there [TS]

  right like so I think she gave somebody [TS]

  a heads up out there saying watch this [TS]

  make sure nobody takes it until my kid [TS]

  comes and gets it it's like it doesn't [TS]

  really bother me because she says [TS]

  immediately liked you better go get it [TS]

  right like it's not just the this is a [TS]

  weird scene this is also a movie where a [TS]

  guy who looks like Bruce Willis bench [TS]

  rs500 nice well my thing about it is [TS]

  that she is the mother of a kid who is [TS]

  is hurt a lot and and I have friends who [TS]

  have who have children who are our [TS]

  fragile in some ways and those moms get [TS]

  tough so my thought is that when she put [TS]

  it out there like she looked at all [TS]

  those other kids and like just gave them [TS]

  the law yeah and they were like or word [TS]

  or gave them a mission of nobody touches [TS]

  this do you understand air yeah exactly [TS]

  it once again this is an intro with a [TS]

  mirror shot right he's looking at the TV [TS]

  which is both a call back to the birth [TS]

  scene at the very beginning and to Bruce [TS]

  Willis's son watching the TV in the [TS]

  first shot that we get of him and so [TS]

  it's really again once again it's glass [TS]

  in the scene with the mom give him the [TS]

  comic book she has the line they say [TS]

  this one has a soprano yes that is too [TS]

  important and it's also a one another [TS]

  reversal shot where it the comic book is [TS]

  upside down yes and it follows him [TS]

  around as he turns it around and then [TS]

  continues around until it's red Sun he's [TS]

  the villain so it's upside down and [TS]

  inverted right like that makes perfect [TS]

  sense that I think that shot is a little [TS]

  bit too showing a little myself yes yeah [TS]

  no I'm a sucker for that because like [TS]

  that is a perfect metaphor for the point [TS]

  at which his life turns around yeah and [TS]

  it's like all right yes I mean that the [TS]

  the surprise ending thing is a little on [TS]

  the nose when you're watching this and [TS]

  have already seen it but layout again [TS]

  yeah yeah and there is a surprise to us [TS]

  to the end it is the thing that kicks me [TS]

  because like I've like how did I watch [TS]

  this movie before it's coming well we've [TS]

  got a 80 @ mi so then we do see they do [TS]

  meet the present day Elijah runs this [TS]

  art gallery there's a funny scene where [TS]

  a guy is going to buy this fine piece of [TS]

  art that's been described by Elijah [TS]

  about all the reasons the way that the [TS]

  the way the hero is depicted the way the [TS]

  villain is depicted and the guy says oh [TS]

  my four-year-old kid is going to love it [TS]

  he's like nope nope out of the store [TS]

  somebody's wasting somebody else's time [TS]

  out which is a great scene actually and [TS]

  then Bruce Willis arrives so Bruce [TS]

  Willis and his son come in and they have [TS]

  a conversation with Samuel Jackson where [TS]

  he has a long bit of dialogue about the [TS]

  history of kind of comic art he is [TS]

  explaining what again a little bit on [TS]

  the nose he's got hieroglyphics [TS]

  behind him as he's explaining that that [TS]

  illustrations go back to the days of the [TS]

  Egyptian hieroglyphics I'm like okay I [TS]

  got it I got it moving well I'm glad [TS]

  they didn't have him stroking a cat yeah [TS]

  another back chair there is a there at [TS]

  and he says you know that people and and [TS]

  he begins to get his thesis about how [TS]

  like people are extraordinary and maybe [TS]

  maybe you were extraordinary and and [TS]

  I've been looking for people like you [TS]

  and and he gets to do who do his whole [TS]

  download and Bruce Willis's responses [TS]

  don't don't drink anymore that water son [TS]

  you might want to throw that water out [TS]

  because he's like oh this is a crazy [TS]

  person that's his first take on Elijah [TS]

  is this is a crazy person we need to get [TS]

  out of here yeah this is the single the [TS]

  single clumsiest scene for me in the [TS]

  whole movie for two reasons one is like [TS]

  the whole like comic book as history of [TS]

  people who have powers being marketed [TS]

  and stuff like comics aren't that [TS]

  ancient you know like like comic books [TS]

  are just they're not that old you know [TS]

  and they have like well documented [TS]

  origins and it's like that's not what [TS]

  this is but he has a key is potentially [TS]

  crazy person so yep that kind of gets a [TS]

  pass but then like the way Bruce Willis [TS]

  reacts with the don't drink the water [TS]

  and then they get up to leave and he's [TS]

  like it's very clear at this point that [TS]

  that his character David feels that [TS]

  Elijah is a crazy person and then the [TS]

  scene ends with Elijah asking what kind [TS]

  of work do you do and then David tells [TS]

  Elijah that the person he thinks is [TS]

  completely crazy oh here's my job at the [TS]

  place where I work it's like what are [TS]

  you what he's weirdly polite to a lot of [TS]

  people yeah I think he realizes whoa [TS]

  whoa whoa I went I went way too fast I [TS]

  almost tipped my hand a bit too far you [TS]

  know I just about scared this guy off [TS]

  and he visibly in the next interaction [TS]

  that he has with David dials it back a [TS]

  bit where he goes a bit more open ended [TS]

  with him [TS]

  let's let's David do more of the mental [TS]

  answering of the questions that he's [TS]

  that he's asking then answering his own [TS]

  questions as he's asking them which is [TS]

  kind of what he does on down-south calm [TS]

  down you blew at that time come down I [TS]

  mess it up with the sky almost visit up [TS]

  with this guy and I don't want him to [TS]

  run away so i should mention a couple [TS]

  things happen that i skipped over he [TS]

  does find out that he's never taken two [TS]

  sick Danny gets a raise which i think is [TS]

  really nice we also see him at his place [TS]

  of work and there is a fantastic shot i [TS]

  just want to mention which is he's [TS]

  wearing his poncho standing in the [TS]

  tunnel watching the football team [TS]

  practice and could not look more like [TS]

  Batman in that job it is an amazing shot [TS]

  he is just like hood in a cape you know [TS]

  yo you put that you put the ears on me [TS]

  looks like Batman and if you look at him [TS]

  face forward and see the green in the [TS]

  cloak he looks like the spectre but [TS]

  nobody knows the spectre is nobody cares [TS]

  that that's true also there are a couple [TS]

  scenes including one that happens right [TS]

  after the scene of the in the gallery [TS]

  where he's at where Bruce Willis is at [TS]

  home with Robin Wright who is his [TS]

  estranged wife he goes through some old [TS]

  clippings including his football career [TS]

  and the crash but then we get this is [TS]

  where we get the scene where she [TS]

  basically which we're still figuring out [TS]

  exactly what state their relationship is [TS]

  in and this is the scene where she asks [TS]

  since we've been separated have you been [TS]

  with anybody else and he says no and she [TS]

  kind of breaks down at that point so you [TS]

  can see now you're getting more of the [TS]

  outline here of of the fragile nature of [TS]

  this relationship and you know are you [TS]

  know they're they're not in the same [TS]

  room but they're under the same roof and [TS]

  and are that is it over or is it not [TS]

  over and they're they're not clear and [TS]

  we get another scene of that we a couple [TS]

  of scenes where we're slowly putting [TS]

  together kind of some we never get all [TS]

  but some of the details of their [TS]

  estrangement that's an interesting shot [TS]

  because Bruce Willis is entirely from [TS]

  behind and the entire cameras on Robin [TS]

  right for that entire scene which is [TS]

  powerful because it's like an [TS]

  unflinching Glick gaze right and that's [TS]

  it's weird because we don't see him his [TS]

  reaction to that and this is all sort of [TS]

  ties into his character who is just kind [TS]

  of sleepwalking through life right like [TS]

  that's the whole thing we're getting [TS]

  from him and this fur [TS]

  half of the movie is that he is just not [TS]

  he is not in it he is not engaged he is [TS]

  not awake for whatever reason he is just [TS]

  not in this and then the other thing [TS]

  that I want to note was like almost a [TS]

  very literal Chekhov's gun scene wait [TS]

  well gun out of the closet and it's like [TS]

  yep my guns still there and do I have [TS]

  Chekhov's gun I do all right I do away [TS]

  thanks check out I mean I assume it's [TS]

  because he's just had this really weird [TS]

  interaction with a crazy dude who seems [TS]

  to be too into him but it is a little [TS]

  it's a little tan odd scene but it is [TS]

  clearly there to set up something will [TS]

  ya later yeah the other thing about the [TS]

  closet seen that struck me as like [TS]

  that's another like blatant example of [TS]

  comic book framing you know with the top [TS]

  down angle like yeah most movies would [TS]

  have shot that just through the through [TS]

  the open closet door you know as a [TS]

  simple side angle but we are above the [TS]

  ceiling in that show yeah we are about [TS]

  the ceiling he's he's literally boxed in [TS]

  by the closet like you can imagine [TS]

  reading the comic that's in and the the [TS]

  frame is the closet itself and it's just [TS]

  like for anyone who reads comics they [TS]

  notice that but for anyone else who [TS]

  doesn't read comics watching the movie [TS]

  it's like oh that's an interesting [TS]

  choice of framing it's not it's not like [TS]

  just thrown in your face and over the [TS]

  top it's just so well done and so like [TS]

  interlaced throughout the movie so well [TS]

  that's just like oh that's so nice next [TS]

  up also we are at the stadium and Elijah [TS]

  comes to talk to to talk to David again [TS]

  and we get to see David at work and one [TS]

  of the things we see here is our first [TS]

  hint that perhaps he's not just [TS]

  unbreakable but has other abilities [TS]

  which I I watching this movie it's one [TS]

  of those things like whoa like wait a [TS]

  second there's a whole other dimension [TS]

  happening here where he gets the sense [TS]

  first off it's very it's it's very [TS]

  subtly done here where he basically [TS]

  shows off that he thinks that that guy [TS]

  in the lion might have a gun and so he [TS]

  says start the pat downs and they start [TS]

  the pat downs and he tells Elijah yeah [TS]

  he'll just get out of the line if he's [TS]

  got something and he totally does get [TS]

  out of the line and so it's like I shot [TS]

  that holds on him and you're like is he [TS]

  gonna get out of line is he gonna get [TS]

  out of line yeah he finally does and [TS]

  there's this conversation about like he [TS]

  got did [TS]

  get an image of of it and it's a silver [TS]

  gun with a with a black grip right and [TS]

  and and Elijah ends up pursuing him down [TS]

  into the subway falling breaking many [TS]

  bones but seeing as he's laying upside [TS]

  down at the bottom of the steps he sees [TS]

  the guy jumped the turnstiles cuz this [TS]

  guy also was a fair cheat damn this guy [TS]

  he's even uh and sees that he has the [TS]

  same gun that David thought he saw [TS]

  flashed on basically without actually [TS]

  ever seeing which is a confirmation that [TS]

  David has even more powers than we [TS]

  thought and that's this block in the in [TS]

  the in the stadium love the creepy [TS]

  Cadillac which like once again is like a [TS]

  super villain card all the padding on [TS]

  the inside and again I was like how did [TS]

  I not notice this the other thing that [TS]

  really got me was that the call back in [TS]

  a certain way he goes to follow this guy [TS]

  across the street and down the subway [TS]

  and I thought to myself the present is [TS]

  across the street he is like same thing [TS]

  with him chasing down this you know like [TS]

  whatever this means to him right he has [TS]

  to go he has to thwart the stairs and of [TS]

  course when he falls to the bottom of [TS]

  the stairs and sees the guy jumped the [TS]

  turnstile he's upside down yeah each [TS]

  time he's chasing the next chapter of [TS]

  his life also by the way in our [TS]

  continuing story of one of the themes of [TS]

  this movie being easy parking uh he's [TS]

  next to a stadium in a football game and [TS]

  his cars just with handicaps using any [TS]

  gifts I suppose that's true I just he [TS]

  it's not a problem to park Nick's [TS]

  parking next to a football stadium [TS]

  during a football game is not easy to do [TS]

  but Elijah manages I I wondered the one [TS]

  thing they need is seen that strikes me [TS]

  as maybe a little over the top is the [TS]

  cane shattering oh I love the cane [TS]

  chatter it's no wait in which it is an [TS]

  awesome image but I also wonder why do [TS]

  you have a glass game unless you're a [TS]

  supervillain mr. well yeah cuz he's [TS]

  named mr. glass and this is a comic book [TS]

  movie and Bruce Willis bench presses [TS]

  thank you much as you brought me back [TS]

  down to reality that's ok thank you i [TS]

  needed or whatever this is it only takes [TS]

  500 pounds the other thing is when he's [TS]

  crossing the street they're like the win [TS]

  and like makes that flap of his coat oh [TS]

  yeah girls and you see that line again [TS]

  that vibrant purple yeah so good next up [TS]

  we have the scene where Bruce Willis [TS]

  does benchpress 500 pounds and we [TS]

  learned yet another dimension of his [TS]

  character not only is he not only does [TS]

  he have sort of a spidey sense and is [TS]

  unbreakable but he is super strong but [TS]

  before that scene starts we get a scene [TS]

  outside where he sees his son and his [TS]

  plate he's playing football which his [TS]

  mom is going to be upset about so we're [TS]

  laying the groundwork there about the [TS]

  fact that that she Robin Wright had a [TS]

  problem with football and perhaps that [TS]

  went into his car crash there but we do [TS]

  see the cornerback who is going to be a [TS]

  god down on the field playing with the [TS]

  kids which is a callback and it's sort [TS]

  of a sad moment of like oh yeah that [TS]

  agent who died and and also I love this [TS]

  scene because at the very end of it what [TS]

  the kid says is all right guys I can't [TS]

  play anymore I gotta go work out with my [TS]

  dad it's just adorable and then he puts [TS]

  his hand on his back as they walk away [TS]

  just oh it's uh it's there's something [TS]

  about that that is so just hits you [TS]

  right in the feels he's just showing off [TS]

  that is and loves his dad the thing the [TS]

  thing I love about the the bench [TS]

  pressing 500 pounds is one of the [TS]

  complaints that you could make about [TS]

  this movie if it was handled more poorly [TS]

  is that how would this guy not know that [TS]

  he couldn't lift so much like he that [TS]

  he's that strong but it's very clear [TS]

  that he has to struggle pretty much just [TS]

  the same amount before exactly for a [TS]

  reasonable amount of weight and and as [TS]

  they keep adding like he doesn't even [TS]

  realize that his kid added weight [TS]

  instead of took it off so it's it it [TS]

  doesn't have that same sort of like you [TS]

  know kid discovers he's super strong by [TS]

  lifting a car at the age of 2 or [TS]

  anything so I appreciated the actually [TS]

  the performance from Bruce Willis [TS]

  because it really did look like he was [TS]

  straining and struggling and the way [TS]

  that that was slowly built as Elijah [TS]

  says have you did have you two ever [TS]

  tried to develop it and the answer is no [TS]

  right and this is a good example of that [TS]

  is he knows he can lift this it was [TS]

  really hard he probably can't lift [TS]

  anymore so he'll stop and he never tests [TS]

  himself that's his life yeah that was [TS]

  self the self imposed limitation of [TS]

  I live in the real world in the real [TS]

  world you know people with superhuman [TS]

  strength don't exist so when you've [TS]

  reached the top end of what somebody on [TS]

  the football team bench presses well [TS]

  guess what you lift the most on the [TS]

  football team and nobody else can match [TS]

  you so there's nobody else to compete [TS]

  with and you stop the shooting of this [TS]

  entire scene is fantastic that love the [TS]

  kid walking back and forth I love the [TS]

  lines you think you could have beaten up [TS]

  Bruce Lee like he knew karate like that [TS]

  is such a thing like that you know [TS]

  you're thinking who doesn't want to [TS]

  think their dad can beat up Bruce Lee [TS]

  right like and then the scene where he's [TS]

  like you know how much did you take off [TS]

  and they cut back to them I just love [TS]

  his delivery on I'll I'd like it like [TS]

  it's just so good and he keeps moving [TS]

  the kid keeps moving further back as the [TS]

  scene goes and he puts more weight on [TS]

  and i love this is the scene that sold [TS]

  me on this movie when i was watching it [TS]

  for the first time and they sort of you [TS]

  know they're sitting there and there's [TS]

  this brief pause the kids has let's put [TS]

  more on every suppose just thinks about [TS]

  it goes okay okay like it was just that [TS]

  i just love that because it's the [TS]

  starting he's starting to realize [TS]

  something is weird right and it's just [TS]

  the buy-in is there a and he's letting [TS]

  his son into his into his world here he [TS]

  trusts his son to like help him figure [TS]

  this out which is kind of cool and his [TS]

  son was obviously with with them when [TS]

  they met with elijah the other thing and [TS]

  lauren brought this up she said she [TS]

  talked about the framing to and again [TS]

  not a subject she spends a lot of time [TS]

  talking about when she sees a movie but [TS]

  she said very specifically the shot that [TS]

  got her was the weight lifting shot [TS]

  we're in camera the camera keeps coming [TS]

  in and out as they as the weights keep [TS]

  going up and down it just it's a shock [TS]

  it's really good there's there's some we [TS]

  keep talking about Hitchcock there's [TS]

  some Spielberg flourishes in here too [TS]

  but but but yeah this is I really like [TS]

  this scene and how his son is like [TS]

  collaborating with him on it you should [TS]

  never do anything like this you know [TS]

  that i love how the kid keeps standing [TS]

  further back he's like staying power [TS]

  therefore i'm not quite sure what would [TS]

  happen about this is dangerous you [TS]

  should stand for the back like like in [TS]

  case awaits y or something and then and [TS]

  then you cut back to him and he's [TS]

  further back he just keeps going back [TS]

  air it's amazing but I I like that I [TS]

  like that Spielberg in touch and it's [TS]

  something that you know again I think [TS]

  unfair [TS]

  maligned shyamalan his people were like [TS]

  oh he's just a crib artist so he just [TS]

  cribs from Spielberg oh he just cribs [TS]

  from Hitchcock now he cribs from all of [TS]

  them and the combination of it is [TS]

  entirely centered around his personality [TS]

  and it's why you know I feel like this [TS]

  movie worked and and is really one of [TS]

  his best is is because they're there is [TS]

  that kind of authentic feel to the [TS]

  relationship between father and son [TS]

  which oh yeah you know just getting a [TS]

  kid to perform well is one thing but [TS]

  building a decent narrative around a kid [TS]

  actor and their relationship with [TS]

  parents is entirely another and the fact [TS]

  that he accomplishes both of those is is [TS]

  utterly fantastic I just will always [TS]

  remember the paint cans for some reason [TS]

  now yeah with me for so long you just [TS]

  the those image of the paint cans [TS]

  attached to the dumbbells yep just so so [TS]

  neatly attached it with duct tape and [TS]

  that line too how much how much weight [TS]

  did you put on all of it all of it [TS]

  Elijah needs physical therapy because he [TS]

  fell down all the steps and he goes hut [TS]

  2 from right like he's in contrast yeah [TS]

  you know David's lifting 350 pounds and [TS]

  he's in a hospital and so and then he is [TS]

  in physical therapy and he chooses the [TS]

  place where Rob and right works because [TS]

  he's a crazy stalker and says oh did [TS]

  David never tell you about that whoops I [TS]

  revealed that I know who your husband is [TS]

  so she doesn't walk away at that point [TS]

  which is the part that freaks me out a [TS]

  little bit like they keep going she's a [TS]

  carer yes she is and she's also [TS]

  protective of David himself you know not [TS]

  not just her wanting to try to find a [TS]

  way to make a relationship work but she [TS]

  she knows that he is hurt and hurting [TS]

  and damaged and you know he can't just [TS]

  be taped back together again emotionally [TS]

  but I think part of it might honestly [TS]

  the character motivation at least be [TS]

  that she she wants to get as much [TS]

  information out of this guy who I mean [TS]

  what's he gonna do jump out of the chair [TS]

  and and get her a you know she she [TS]

  suddenly goes on an immediate quest of [TS]

  weight I'm gonna find out what's going [TS]

  on here and then we're going to put you [TS]

  in handcuffs and send you away yeah and [TS]

  then she realizes oh maybe this is not [TS]

  as bad of a thing or a bad thing I know [TS]

  well okay we'll figure it out this is [TS]

  also the scene where we find out more [TS]

  about why she doesn't like football [TS]

  where she's yeah um you know she's like [TS]

  you know it's the opposite of what I do [TS]

  and and isn't that a little on the nose [TS]

  because if you look in the newspaper [TS]

  clipping about the car accident her [TS]

  maiden name is inverse oh yeah is it [TS]

  really oh yeah look it up it's there and [TS]

  I was like that's easily I'll take it [TS]

  I'm okay with it Bruce Willis is bench [TS]

  pressing how many pounds boys at [TS]

  pressing how many pounds boys at [TS]

  500 less than pecans in there what a pay [TS]

  cans way but yeah what do paint cans way [TS]

  indeed like that the cotton the constant [TS]

  reference to inversions and reversals [TS]

  and and symmetry and that sort of thing [TS]

  like throughout it would it would get to [TS]

  a point where it would get to the upper [TS]

  level of my tolerance for it but by the [TS]

  end of the movie everything balanced out [TS]

  and I kind of hate him for that because [TS]

  I ended up working out so well that I [TS]

  you know I you know I really wanted it [TS]

  to bother me enough but but he earned [TS]

  enough by the end of the movie that I [TS]

  kind of was like all right all right ms [TS]

  inverso fine so our next set of scenes [TS]

  are involved Joseph the son first off [TS]

  getting in a fight at school because [TS]

  he's trying to protect somebody because [TS]

  he wants to be a hero like his dad and [TS]

  and they have a whole conversation about [TS]

  it and then yeah it's really sweet and [TS]

  so the next thing that happens is he [TS]

  gets the gun out and try and threatens [TS]

  is dead to shoot him to prove that he's [TS]

  uh that it to prove that he's a [TS]

  superhero love that scene so much also [TS]

  also david david has learned here from [TS]

  the lady at the school that he almost [TS]

  drowned and so he tells his son you know [TS]

  I didn't I'm not invulnerable we got it [TS]

  all wrong and the Sun doesn't believe it [TS]

  which is why he gets but you absolutely [TS]

  love the scene with the the Sun not only [TS]

  because I remember it just being like [TS]

  that one of those like armchair gripping [TS]

  means in the theater because you're like [TS]

  oh my god is he gonna shoot him what [TS]

  will happen yeah I layup and and because [TS]

  it is so well diffused with humor where [TS]

  they try all these different things to [TS]

  get him to put the gun down including [TS]

  like I thought we were becoming friends [TS]

  friends don't shoot friends do they [TS]

  Audrey no no no she don't know shooting [TS]

  shooting friends the wider [TS]

  laughing out loud about in the theater [TS]

  yeah even as I'm like sort of shaking [TS]

  and like to have my hands on the armrest [TS]

  it's a hell of a way to play out the you [TS]

  know the the archetypical son finding [TS]

  out his father is not invincible and [TS]

  immortal sort of sort of trap of you [TS]

  know coming of age and growing up is is [TS]

  you know the Sun the Sun has to learn [TS]

  that his father is not immortal and [TS]

  invulnerable by effectively threatening [TS]

  him with a gun or about to be in big [TS]

  trouble that kid is is really smart [TS]

  right i mean it is it is perfectly [TS]

  logical how do i prove that my dad is [TS]

  invulnerable because i believe it the [TS]

  answer is I'll just shoot him and it'll [TS]

  bounce off but he said and Bruce Willis [TS]

  is like keen to bet he's like it okay [TS]

  you shoot me bullet bounces off and then [TS]

  I'm out of here I'm gonna lie you [TS]

  leaving because we don't shoot people in [TS]

  this house which is just might not shoot [TS]

  friends dads are for hugging not [TS]

  shooting no my kids and I my whole [TS]

  family watch this movie last night and [TS]

  the kids I was worried that the slow [TS]

  pace was going to get them although i [TS]

  think it was ok they were they were it [TS]

  was a little slow but they were a little [TS]

  bit intrigued to and uh this scene they [TS]

  were on edge and you know and then [TS]

  there's the laughter of the release of [TS]

  tension with that friends don't you know [TS]

  shoot other friends all of that but it [TS]

  really it is an incredibly effective [TS]

  scene because what's he gonna do like a [TS]

  kid wouldn't you know normally this kid [TS]

  loves his dad why would he shoot his dad [TS]

  is because he thinks his dad is a [TS]

  superhero that's why and uh it's great [TS]

  it's a great thing and another thing [TS]

  that i love is that we we never actually [TS]

  get any kind of resolution to this we [TS]

  don't know what would happen if he got [TS]

  shot and jumping forward just a little [TS]

  bit when you get him telling mr. glass [TS]

  that this kid threatened to shoot him i [TS]

  love how samuel l jackson is so emphatic [TS]

  about I didn't say you could be you know [TS]

  could be killed like that was like he's [TS]

  you can see him it's flashing before his [TS]

  eyes oh my god this person who is is [TS]

  about to make my life have meaning [TS]

  almost perhaps got killed by his own kid [TS]

  because i overstepped a little bit it's [TS]

  the same thing I almost screw things up [TS]

  with this guy again just in a different [TS]

  way I should have made him sign a waiver [TS]

  just engaged like releasing me from [TS]

  liability like I I [TS]

  of the the connection between these two [TS]

  because you are you're you're just like [TS]

  what if he does get shot you know and [TS]

  it's like what what happened and then I [TS]

  feel like the scene where he's looking [TS]

  at the wreckage wraps that up and it's [TS]

  like it probably would have bounced off [TS]

  because that is just mangled to hell we [TS]

  get here there's two scenes where it's a [TS]

  bruce willis and Robin Wright they have [TS]

  their date she come she comes in earlier [TS]

  and and says you know can we could we [TS]

  you know i'd like to try again which is [TS]

  a big you know big moment in there [TS]

  trying to fix their their marriage and [TS]

  they have the date here which starts out [TS]

  with sort of dating things and then very [TS]

  quickly breaks apart into more details [TS]

  about their their marriage and and when [TS]

  it fell apart i I'm sorry whose favorite [TS]

  colors are rust and brown yeah yeah [TS]

  favorite color is brown I left it's the [TS]

  muted color palette just I go put on a [TS]

  plate in front of you I know beautiful [TS]

  painting behind them though so honey [TS]

  honey what's your favorite color dark [TS]

  gritty yeah yeah yeah he should have [TS]

  said right I like bright green like my [TS]

  poncho that's when I liked Pancho color [TS]

  green poncho there is a beautiful a [TS]

  beautiful picture behind them on the [TS]

  wall and a nice slow zoom yes I did take [TS]

  a take note of this particular scene [TS]

  simply because I felt like this was the [TS]

  first time that I noticed any real color [TS]

  that didn't have to do with mr. glass [TS]

  right um because it's a their first date [TS]

  he's things something is changing in his [TS]

  life even though it doesn't necessarily [TS]

  go the way he's expecting but we get [TS]

  that great mural and they're talking [TS]

  about colors just you know yes they're [TS]

  they're muted colors we haven't gotten [TS]

  that far yet but this for me was kind of [TS]

  a turning point in the movie because I [TS]

  finally saw something that visually [TS]

  stimulated me in a way that the film had [TS]

  not too much at this point so they go [TS]

  home and uh the babysitter and I want to [TS]

  just call out again I love but the [TS]

  babysitter has this one scene the [TS]

  babysitter could be completely generic [TS]

  or not in the movie but instead the [TS]

  babysitter is a funny little character [TS]

  we thanks thank me thank you telling [TS]

  she's actually she's actually my [TS]

  favorite character in no lie I swear you [TS]

  get so much from her and the best part [TS]

  is is that that she goes out in it's [TS]

  pouring rain outside when she's like oh [TS]

  great yes sir last geez but she she got [TS]

  the job in New York so there's suddenly [TS]

  extra tension in their relationship [TS]

  because what does that mean he thought [TS]

  he wouldn't get it but he got it and I [TS]

  started to think about like did they [TS]

  realize that the guy who was the sole [TS]

  survivor of the train crash was the guy [TS]

  they interviewed know like hey let's go [TS]

  that guy I guys great i security I [TS]

  started to wonder about that so and then [TS]

  the other call is on the machine and it [TS]

  is a and it's elijah right so two things [TS]

  that strike me about this one when we [TS]

  find out that david has gotten the job [TS]

  and they're talking about it Bruce [TS]

  Willis is out of focus again and it's as [TS]

  if he is once again hit like you know [TS]

  Erika just mentioned how he's something [TS]

  is changing in his life and it's as if [TS]

  that almost slips away for a moment here [TS]

  as the possibility of him leaving comes [TS]

  up again so he's kind of gone blurry [TS]

  again and then a thing that I again I [TS]

  watched this scene twice because I want [TS]

  to make sure I was hearing it correctly [TS]

  do you notice that Elijah's voice on the [TS]

  answering machine changes it goes yeah [TS]

  yes daddy key and modulated doing a [TS]

  voiceover and it does it's yes Lee and [TS]

  gradually but it's really well done then [TS]

  David goes to the train yard this is the [TS]

  this is where that happens which is he [TS]

  breaks into where the wrecked cars are [TS]

  and looks at the smashed up cars and and [TS]

  you just know it's giving him the [TS]

  realization that you know something [TS]

  there's no way he should have survived [TS]

  this thing and he flashes back to the [TS]

  car crash and in the car too much little [TS]

  too much slow-mo oh the 90s yeah so in [TS]

  look in the car crash what we see is [TS]

  that he's he has been ejected from the [TS]

  car but is fine of course and and she is [TS]

  still in the car and so he has to get [TS]

  her out so we also see an example that [TS]

  not only does he as a teenager he had [TS]

  proof that he was unbreakable but he [TS]

  rips the door off the car in order to [TS]

  get her out so there's his [TS]

  super-strength although yeah adrenaline [TS]

  makes you do things but you know we know [TS]

  now it's his super strength that is [TS]

  happening here and then we get that [TS]

  moment where the car pulls up and asked [TS]

  if he's okay and he's like thinking over [TS]

  what he's going to say [TS]

  and this is presumably the moment where [TS]

  he decides that he's going to feign an [TS]

  injury so that he never has to play [TS]

  football again and I was thinking about [TS]

  this too because you I'm a lot of times [TS]

  there are a superhero like characters [TS]

  who are teenagers and they usually come [TS]

  up with a reason why they can't be [TS]

  because like spider-man would be the [TS]

  best basketball player or football [TS]

  player or whatever at his high school [TS]

  team right because he's got powers and [TS]

  he doesn't do it what I like about what [TS]

  david dunn has in his bat past is he is [TS]

  famous for being this amazing football [TS]

  player and then the injury is what stops [TS]

  him from from you know going on and and [TS]

  maybe becoming a professional football [TS]

  player or whatever but through the now [TS]

  that we know what we know about him it's [TS]

  like well that's why he was a great [TS]

  football player is that he has he is [TS]

  strong and can't be hurt so no wonder he [TS]

  is a great football player and maybe he [TS]

  also has like you know great agility [TS]

  which we never get to see a movie [TS]

  because we he hasn't doesn't go that far [TS]

  because when Robin Wright is talking to [TS]

  him later on saying you know I never [TS]

  would have wished for that accident to [TS]

  stop you from playing football something [TS]

  to the effect of the things you could do [TS]

  were like nobody else that makes me [TS]

  think that there's more than just super [TS]

  strength like the actual abilities [TS]

  beyond that and some of it with him [TS]

  feigning the injury is also about in [TS]

  some ways not quite protecting her but [TS]

  it has obviously as we talk about later [TS]

  you know when he when Elijah mentions [TS]

  that he gave this up for a woman you [TS]

  know there is there's love there right [TS]

  like there's something he realizes that [TS]

  he can't have that and and be with her [TS]

  and there is a choice about that even [TS]

  though it doesn't go exactly as he's [TS]

  planned he talks to Elijah and Elisha [TS]

  says go where people are like this is [TS]

  where all the way in and so here we go [TS]

  we got the big big scene in with the [TS]

  pillars in the end there's some fog and [TS]

  the lights are coming down and there's a [TS]

  big clock and it we're in the train [TS]

  station and there's people buzzing [TS]

  around everywhere and this is that [TS]

  moment where he's going to use his [TS]

  powers and this is also the moment where [TS]

  the pat color palette is very clear you [TS]

  know essentially we're seeing through [TS]

  his eyes because the idea here is [TS]

  everybody's gray and washed out but the [TS]

  people who are special he bumps against [TS]

  and gets a flash of some crime they've [TS]

  committed they're all wearing distinctly [TS]

  bright [TS]

  clothing so it's it's an it's a nice you [TS]

  know it I wouldn't I wouldn't call it [TS]

  subtle but I really like it that that [TS]

  the people that he bumps into the lady [TS]

  with a red jacket and then we see her in [TS]

  a shiny red outfit stealing a was [TS]

  healing jewelry and then he bumps into [TS]

  the what he bumps into the the Gaius [TS]

  assaulting people in battle you have a [TS]

  guy wearing bright yellow yeah the [TS]

  bright yellow guy who hits hits people [TS]

  on the street and says to go back at [TS]

  this yeah and then there's the the [TS]

  rapist we see and then there's finally [TS]

  there's mr. orange janitor who who is is [TS]

  our person who were going to be [TS]

  following back to his place where he's [TS]

  committed all the murders the music in [TS]

  this scene is is I mean I got chills [TS]

  I'll oh yeah I get chills this whole [TS]

  scene is fantastic this is just the this [TS]

  is the crème de la creta siz like they [TS]

  the apex of this movie right where he's [TS]

  like he's bought in now right he is [TS]

  believing it and he stretchy he's got [TS]

  that nice shot where he he stretches out [TS]

  his hands as he's standing there yeah [TS]

  and lets the crowd wander over him and [TS]

  you're like oh he's in he's totally in [TS]

  now and Elijah has warned him that [TS]

  things are going to be messy real life [TS]

  is messy right which is important for [TS]

  later the two things I noted about the [TS]

  scene were number one the music which [TS]

  you know I'm right there with you with [TS]

  the chills the second thing it goes back [TS]

  to what we were talking about earlier [TS]

  about how this is this is a very [TS]

  realistic superhero movie we crimes that [TS]

  he sees these people committing these [TS]

  are like crimes these aren't like oh [TS]

  like we got the black masks and we're [TS]

  robbing a bank or you know like the [TS]

  typical comic book type crimes these are [TS]

  like like rape and assault and like [TS]

  major crime crime in the real world it's [TS]

  not I 5,000 pounds of whipped cream yeah [TS]

  like look it's it's exactly like elisha [TS]

  says on the phone like this this is not [TS]

  going to be like the comics my says [TS]

  david dunn could benchpress that 5,000 [TS]

  pounds of whipped cream just do bake two [TS]

  big buckets how much does 5,000 pounds [TS]

  of whipped cream way 5,000 pounds Dan [TS]

  5,000 pounds nothin manly size buckets [TS]

  yeah exactly right is tape them on there [TS]

  he [TS]

  I I have to say the whole thing this [TS]

  again I don't really like scary movies [TS]

  per se and the home invasion stuff free [TS]

  to me it's to hell super scary God these [TS]

  movies turns into a horror movie [TS]

  veritable times the flash on the guy is [TS]

  pre-war right terrifying it's so [TS]

  terrifying because again it's like it's [TS]

  your home you're supposed to be safe [TS]

  there right and this is the whole [TS]

  sequence with this as we get there is [TS]

  just eerie as hell and terrifying and [TS]

  it's so effective is so effective and [TS]

  the fact that that as he's seeing all of [TS]

  these flashes like somebody said before [TS]

  they're getting worse and worse and [TS]

  bigger and bigger yeah and the last one [TS]

  that we see actually like on the face of [TS]

  it what we see not that bad so you know [TS]

  that what happened after that had to [TS]

  have been so much worse and then as he [TS]

  gets there you find that out it's just [TS]

  yeah I felt the same way you see it's [TS]

  the not showing the explicit thing and [TS]

  letting your mind make it a thousand [TS]

  times were there is a flash of the [TS]

  father dead on the stairs right yeah [TS]

  right after that it's but yeah yeah i [TS]

  still had like i still had an inkling [TS]

  that it was it was going to be even and [TS]

  it was and it was yeah you don't get you [TS]

  don't see that exact act and so you [TS]

  still have that gap in terms of visual [TS]

  information they give you so you get to [TS]

  build that out for yourself and while [TS]

  that's happening you're also getting [TS]

  visual information as 20 but there are [TS]

  more people and we're going to take you [TS]

  on a tour of absolute abject horror [TS]

  movie sadness for a minute yeah and then [TS]

  we're gonna see what he does [TS]

  conveniently he is already wearing [TS]

  orange for a prison jumpsuit yes so [TS]

  first well as follows him with his hat [TS]

  in his poncho green poncho man is on the [TS]

  case and we follow him following the man [TS]

  so there's a Steadicam shot we go around [TS]

  a pillar and he's taken his trash can [TS]

  back to the employees only and any walks [TS]

  conveniently this is not the beginning [TS]

  of his shift and Bruce Willis doesn't [TS]

  have to stay on there for eight hours it [TS]

  is the end of his shift he's got it puts [TS]

  his messenger bag on and then and [TS]

  through this driving rainstorm on [TS]

  another shot I remembered so well just [TS]

  like him walking back and forth behind [TS]

  the glass and like again now I haven't [TS]

  seen this in 10 years I [TS]

  knew exactly how that scene plays out [TS]

  and any follow some you know in his [TS]

  poncho and that this guy is just walking [TS]

  in his in his coveralls through the rain [TS]

  Bruce Wallace follows him seize him go [TS]

  up to the front door of the house and [TS]

  then go around the side and there's this [TS]

  is the moment of okay I got to do this [TS]

  and Bruce Willis edits in the mail yep [TS]

  and Bruce Willis enters the house and [TS]

  discovers very you know very quietly he [TS]

  finds the the body of the father well [TS]

  even even before the body like he opens [TS]

  the door and it's immediately like [TS]

  there's the pile of mail yeah there's [TS]

  this garbage like the mess that there's [TS]

  like signs of a struggle it's like like [TS]

  the instant he opens the door it's [TS]

  confirmed that yep this is exactly what [TS]

  it said on the 10 yeah and and there's [TS]

  something I think what sets me most on [TS]

  edge and makes me the most anxious about [TS]

  this entire sequence is there is [TS]

  something even though this this house [TS]

  has already been invaded there is [TS]

  something transgressive about being in [TS]

  someone else's house out their [TS]

  permission up and it just it makes me [TS]

  deeply uncomfortable and anxious because [TS]

  the whole feeling is even though it's [TS]

  you feel like you're worried about [TS]

  getting caught like the whole thing even [TS]

  like though the person in this house is [TS]

  a bad guy and that's a whole extra level [TS]

  of being worried about being caught the [TS]

  fact that it said in someone else's [TS]

  house just like each of the stakes are [TS]

  so up there and it puts me on the edge [TS]

  of my seat the whole time so he goes [TS]

  upstairs and goes into the bedroom and [TS]

  then goes into the bathroom and finds [TS]

  the two girls tied up and that door [TS]

  swings open and you see again you see [TS]

  the silhouette with the hood and the [TS]

  poncho hanging down and what strikes me [TS]

  about this every time is the silence [TS]

  like they don't talk they never say [TS]

  anything they don't they don't scream [TS]

  they don't cry they say nothing and he [TS]

  he you know it's he unties them and we [TS]

  see the whole thing it's one continuous [TS]

  shot of him untying both of them and [TS]

  then he tells them to shush to be quiet [TS]

  and that and the thing about untying [TS]

  them is like up until this point he's [TS]

  very deliberate he's like walking [TS]

  through the house slowly he's taking it [TS]

  all in but when he sees them tied up and [TS]

  he starts to untie them [TS]

  it's like it's rushed and it's frantic [TS]

  and it's panic yeah and he fumbles with [TS]

  that first you know that first not [TS]

  forever like he's taking forever ala [TS]

  because because he's just like those [TS]

  fingers are going left and right and [TS]

  he's like like you you can feel the [TS]

  panic overflowing in his mind and then [TS]

  he starts to slowly take control over it [TS]

  like once he gets that first not out [TS]

  he's like okay I'm here I'm doing this [TS]

  I'm helping these people and then he [TS]

  starts to slowly get control of it again [TS]

  but just again so much is conveyed [TS]

  without a word so much is conveyed just [TS]

  by what we see and just so much subtlety [TS]

  and it's just it's wonderful yeah the [TS]

  the emotional fear that gets transferred [TS]

  to us as the audience is just absolutely [TS]

  a incalculable it it sets me on edge [TS]

  each time I've seen it and we're [TS]

  discovering all the stuff along with him [TS]

  as he's making his way through the house [TS]

  and that sense that there was there was [TS]

  just mentioned of being in someone [TS]

  else's house and how just objectively [TS]

  wrong it feels you know there is there [TS]

  is an intrusion happening even if in the [TS]

  case of our audience surrogate here [TS]

  we're doing it for the right reason and [TS]

  to do a good thing but that level of of [TS]

  it feeling wrong and then on top of that [TS]

  not knowing what's going to be through [TS]

  the next doorway or you know whether [TS]

  something's going to come through [TS]

  another doorway is like having all of [TS]

  the most tense parts of a really good [TS]

  well made slasher film thrown into one [TS]

  climactic sequence of the movie yep so [TS]

  he goes to the next room and in this is [TS]

  the master bedroom and we see this scene [TS]

  through flapping mertens curtains such a [TS]

  good shot its back to the back to the [TS]

  train seats at the very beginning [TS]

  because its frame we see one we see the [TS]

  other and I don't know I'm never sure is [TS]

  she dead in this scene already yeah [TS]

  because he motions at her to be quiet [TS]

  but she never moved she never moves i [TS]

  agree but it's creepy that he does that [TS]

  like you know there's something off [TS]

  putting an eerie about that but it's so [TS]

  beautifully shot yeah and he goes out [TS]

  onto the onto the porch but mr. orange [TS]

  jumpsuit [TS]

  comes up behind him scare shoves him [TS]

  over yeah we see him we cut back and we [TS]

  can see him through the translucent [TS]

  curtains and he comes back and pushes [TS]

  him over dropping him into the center of [TS]

  the swimming pool cover oh no water it's [TS]

  your kryptonite no and / and mr. green [TS]

  poncho man begins to fall sink into the [TS]

  it's a call back to Elijah falling down [TS]

  the stairs and the shot of him getting [TS]

  involved by the tarp is just wonderful [TS]

  even without the water factor I i found [TS]

  this so the idea of falling onto a tarp [TS]

  and then slowly like knowing that you [TS]

  are about yet go underwater and [TS]

  basically does the edges just keep [TS]

  pulling away slowly yeah that was so [TS]

  effective the the pool cover strikes me [TS]

  on so many levels as such a masterful [TS]

  choice because you know like you've got [TS]

  this you've got this person who's [TS]

  supposedly unearthed you've established [TS]

  that their weakness is water something [TS]

  that to most people and and certainly [TS]

  almost everyone in the audience is just [TS]

  like like water is fun water is like [TS]

  you'd go swimming in the pool and it's [TS]

  great you know like so how do you how do [TS]

  you convey to the audience that this [TS]

  thing that so many people you know enjoy [TS]

  and take for granted and do not see as [TS]

  any kind of real threat like how do you [TS]

  convey that that sense of dread and [TS]

  danger and destruction for this [TS]

  character in the movie and the tarp just [TS]

  does it so well because like you said [TS]

  you know he falls on that tarp and then [TS]

  he twists and it wraps around him and [TS]

  like it just Rams all of those feelings [TS]

  home that that crushing smothering [TS]

  feeling like a shroud it's like a shroud [TS]

  yeah it's like the shroud of death is [TS]

  literally being wrapped around him and [TS]

  it's like whoever like I don't know who [TS]

  thought of that like the the I'm sure it [TS]

  was M night Shyamalan who thought of it [TS]

  but like whoever thought of like the [TS]

  pool cover and the wrapping around and [TS]

  like it's such a fantastic metaphor it's [TS]

  such a fantastic visual it [TS]

  works on so many levels and it turns [TS]

  what could have been such a huge misstep [TS]

  for like water waters his his nemesis [TS]

  like know it sells it completely and [TS]

  it's like you never at one point was I [TS]

  like oh it's just water he should be [TS]

  fine right no it's like oh my god [TS]

  they've earned it yeah he is saved by [TS]

  the two girls that he saved earlier they [TS]

  pull him they give put stick like a pool [TS]

  net or something in there you'd like the [TS]

  stick of a of a pool sweep the skimmer [TS]

  skimmer exactly and yeah and and and [TS]

  that is what gets him out so they save [TS]

  him and again silently they say we've [TS]

  got to exact inverse here again right [TS]

  the reversal he saved them they save him [TS]

  he now comes up behind the orange killer [TS]

  suit guy right just as that guy came up [TS]

  before him and whereas he threw him into [TS]

  his secret weakness of water he puts him [TS]

  in his secret weakness of a headlock [TS]

  that cuts off all the oxygen yep was [TS]

  that a secret secret weakness that is [TS]

  also my secret weakens don't tell [TS]

  everybody yeah yeah I love the scene it [TS]

  is Erica will not be surprised cuz she [TS]

  knows that I I talked about this a lot I [TS]

  like the fact that it's dark and ugly [TS]

  and painful because I feel like you know [TS]

  what if you're gonna have the climax of [TS]

  your movie be that you stop a guy who [TS]

  has killed a husband and wife and [TS]

  chained and and tied up their daughters [TS]

  and is just a monster the way you do [TS]

  that is you know you should probably [TS]

  depict it as as awful as it is and not [TS]

  make it sort of easy and simple and this [TS]

  is this movie I am I am nervous the [TS]

  whole time he's in that house you're [TS]

  absolutely right it feels transgressive [TS]

  I'm worried about him when he's on that [TS]

  swimming pool cover and and in this [TS]

  moment to it's like this is his [TS]

  confrontation with the bad guy and it's [TS]

  and all he really has is his his [TS]

  invulnerability and his perseverance [TS]

  because he just has to ride it out as [TS]

  that guy is trying to not be stopped and [TS]

  and I like it because of that it's not [TS]

  easy it's not fun really but it's so [TS]

  good that it's like yes this is this is [TS]

  what you have to do to solve this [TS]

  terrible thing that happened and so we [TS]

  go [TS]

  through it another call out to the music [TS]

  in this scene which is the other [TS]

  fantastic musical cue in this entire [TS]

  movie as it just comes up and there's [TS]

  this beautiful beautiful work by James [TS]

  Newton Howard here and the last the [TS]

  Lakota here of course is that we didn't [TS]

  know for sure about the woman strapped [TS]

  to the radiator but he unties her and [TS]

  she just flops over and we learned in [TS]

  the newspaper clipping next day that she [TS]

  is dead and so you know that that's the [TS]

  last thing we see of this great victory [TS]

  of his does it feel like a victory two [TS]

  people died who knows what happened to [TS]

  the two girls who were chained up it's [TS]

  awful right and so that the last feeling [TS]

  we'd get left with is not entirely you [TS]

  know there will be some glee in the [TS]

  morning that he's the hero but in the [TS]

  aftermath of this it's not like they're [TS]

  high fives stuff right it's just awful [TS]

  it's an awful thing he hangs the poncho [TS]

  up at home yeah I love that carries [TS]

  Robin right up the stairs in the end he [TS]

  lays down next to her and he is he is [TS]

  looking for solace he's seen some [TS]

  terrible stuff tonight right and he says [TS]

  I had a nightmare which is the thing [TS]

  that he didn't tell her before that he [TS]

  said was the point where he thought that [TS]

  they were not going to make it and and [TS]

  so he says it here so we could come some [TS]

  kind of closure of him needing that [TS]

  support and we know what he's what [TS]

  nightmare he saw he did have a nightmare [TS]

  tonight the nightmare line works on so [TS]

  many levels like it could be the [TS]

  nightmare of that night it could be the [TS]

  nightmare of the problems they've been [TS]

  having their marriage it could be the [TS]

  nightmare of the train wreck like it [TS]

  works on so many levels i'm such a [TS]

  sucker for that line yeah it could be [TS]

  the nightmare of not of his entire life [TS]

  not realizing what he was and what he [TS]

  was splitting right on yep yeah the next [TS]

  scene is the next morning this scene [TS]

  brought to you by tropicana orange juice [TS]

  by the way yeah very clear prominently [TS]

  displayed my son actually said Tropicana [TS]

  I said yep yep yep I love the sea no [TS]

  because of the you know we very [TS]

  deliberately he's drinking as an [TS]

  institution like what is happening here [TS]

  and you hear the newspaper being slid [TS]

  across the table and you see the edge of [TS]

  it and then he says you should look at [TS]

  it and he very carefully looks at it [TS]

  it's the it's the an artist a police [TS]

  sketch of pancho man [TS]

  and the hero in quotes rescues to [TS]

  children parents found dead in house so [TS]

  it's not entirely a win and his son with [TS]

  tears in his eyes looks at up up him and [TS]

  he just just a little nod the slight nod [TS]

  kills me and then it's just you were [TS]

  right up the finger silently he says you [TS]

  were right and then puts up the finger [TS]

  to be like don't know quiet cuz he's now [TS]

  got a secret identity now and that's [TS]

  like his son is the only one who's in on [TS]

  it it's just it's just a great that [TS]

  whole thing the word list things with [TS]

  the Son and the father and his son is [TS]

  crying and the tears are coming down and [TS]

  Bruce Willis do you know that credit to [TS]

  briar that is amazing piece of work with [TS]

  so very little last seen and most [TS]

  controversial uh Bruce Willis he talks [TS]

  talks we see finally again we see [TS]

  Elijah's mom I love the fact that she's [TS]

  wearing purple eyeshadow yep and there's [TS]

  purple trim on her on her clothing yeah [TS]

  it's like it's very clear at that point [TS]

  that like regardless of what has [TS]

  happened or what will happen like she is [TS]

  firmly on his side like she's complicit [TS]

  she is part of his super villain team [TS]

  and I just love that that like hammered [TS]

  home tie in with the with with that [TS]

  color choice in the same way that she [TS]

  told us that there was a surprise ending [TS]

  she now tells us you know this my son [TS]

  always told me there are two types of [TS]

  villain the soldier yes villain who [TS]

  fights with his is you know his muscles [TS]

  his muscles and the real threat the [TS]

  brilliant and evil archenemy who fights [TS]

  him with his brain yep and like there it [TS]

  is and if you know again it's laid out [TS]

  for you if you're ready for it so last [TS]

  seen it continues with in the back they [TS]

  Elijah talks to him you know sees the [TS]

  newspaper and then says we should shake [TS]

  hands which is Elijah saying I know what [TS]

  you can do so you're going to touch my [TS]

  hand now and you're going to see what I [TS]

  did and then we it is revealed in the in [TS]

  the flashes that Bruce Willis gets that [TS]

  these these horrible things that have [TS]

  happened that Elijah has cited [TS]

  previously in the movie of [TS]

  of terrible things happen looking to see [TS]

  if there was one survivor the airplane [TS]

  crashed the hotel fire are things that [TS]

  and the and the train crash that that [TS]

  starts the movie these are these are [TS]

  things that Elijah caused to happen in [TS]

  his quest to find his counterpart at the [TS]

  other end of the bell curve the [TS]

  unbreakable person to be his his nemesis [TS]

  of the breakable person and that all [TS]

  happens in the in handshake he's he's [TS]

  he's outing himself to Bruce Willis and [TS]

  saying yes now you know we are opposites [TS]

  and I am your arch nemesis but to set it [TS]

  up as though it's a congratulations are [TS]

  in order you've become a hero shake [TS]

  hands we've done this together and then [TS]

  the rug gets pulled out from under you [TS]

  it is uh I just heartbreaking and yet it [TS]

  is it is perfect and amazing because of [TS]

  course he is he has turned himself into [TS]

  a villain just to become the you know [TS]

  find the thing that he was looking for [TS]

  and find his opposite and and it is [TS]

  always perfect is for me it is the [TS]

  perfect bow tied on top of this movie I [TS]

  love this scene I love this scene so [TS]

  much and everything he says about like [TS]

  it's usually like these plaintive cries [TS]

  as Bruce Willis is walking away coming [TS]

  to terms with what he's done and the [TS]

  line that always sticks with me is like [TS]

  most of the time they're friends like [TS]

  you and me your friend and I just oh it [TS]

  gets me well it'd be good yeah classy [TS]

  like classing it in man with a thousand [TS]

  faces here a thousand faces kind of [TS]

  terminology I love the notion of [TS]

  shifting the conflict from man against [TS]

  self to man against man and flipping the [TS]

  guide into into the the opposing force [TS]

  that that dynamic is something that [TS]

  still to me works and people complained [TS]

  oh well isn't a coincidental that he's [TS]

  the one who caused the train wreck and [TS]

  that's the thing well yeah it shows that [TS]

  he mass killed a bunch of other people [TS]

  doing other stuff that's why that's in [TS]

  there that's why it's there he was just [TS]

  going to keep playing the odds until he [TS]

  came up with somebody who ended up being [TS]

  his inverse and he's just so happy about [TS]

  this and yes he is criminally insane and [TS]

  that is why he would do something like [TS]

  that well and I what I like about this [TS]

  ending is [TS]

  is that Elijah you know I think some [TS]

  people don't like this because they view [TS]

  it as a first off as a night Shyamalan [TS]

  twist where it's like well you know it [TS]

  is pretty clear where we're we're we're [TS]

  going here the details of him committing [TS]

  all these crimes are a little bit [TS]

  surprising because you kind of want to [TS]

  be on samuel l jackson side but the way [TS]

  I read it is he's he's he's a crazy [TS]

  person and he's so deep down in this [TS]

  mythology that he will do anything [TS]

  because he's committed to finding his [TS]

  opposite so it's not like the movie [TS]

  saying surprise he was a super villain [TS]

  all along from another level up if you [TS]

  look down at it he has turned himself [TS]

  into a monster because he's become so [TS]

  obsessed with this idea of the [TS]

  diametrically opposed force so I like I [TS]

  read it at that level and that's why I'm [TS]

  totally okay with it is but like it's [TS]

  not just like a comic book thing where [TS]

  there's a villain and a and a hero it's [TS]

  like Elijah's desperation to find a [TS]

  purpose in life and why he is the way he [TS]

  is leads him down this sad path and [TS]

  commits these horrible crimes because he [TS]

  believes the only way he can define [TS]

  himself is by finding his opposite [TS]

  number and so yeah he is the super [TS]

  villain in this story but he's not the [TS]

  super villain because of course there's [TS]

  a super villain he makes himself the [TS]

  super villain and he is kind of the hero [TS]

  of his own story in a villainous way but [TS]

  it's also not a surprise because as [TS]

  we've talked about since most of us [TS]

  watch this before it's earned all the [TS]

  stuff that they talked about with when [TS]

  you're watching it a second time and you [TS]

  know what's happening at the end it's [TS]

  not it's not subtle right like there's a [TS]

  lot there's nothing in there that makes [TS]

  you go like oh this comes out of left [TS]

  field no it is earned it is laid out it [TS]

  makes sense and even if it feels like [TS]

  the rug has been pulled under it for out [TS]

  from under you I think that's okay [TS]

  because you're supposed to feel kind of [TS]

  betrayed here at the end you're supposed [TS]

  to feel upset that this person you've [TS]

  kind of rooted for is villainous because [TS]

  that is how Bruce Willis's character is [TS]

  feeling but it works because it's earned [TS]

  and it's set up and all of that stuff is [TS]

  is laid out for you to get you to this [TS]

  point yeah and and the motivations are [TS]

  solid you know like if you think about [TS]

  what Elijah's been thrown his life and [TS]

  his [TS]

  quest and his desire to fit in to know [TS]

  what his places like it all like you can [TS]

  you can see why he did what he did and [TS]

  you can it's totally believable as [TS]

  motivation and again it goes back to the [TS]

  realism it goes back to the it's it's so [TS]

  close you can reach out and touch it [TS]

  because you can see someone going down [TS]

  that path also the performance of samuel [TS]

  l jackson performance really fits in [TS]

  with that reading of it because from the [TS]

  beginning from the first time that we [TS]

  you know we see him as an adult he's [TS]

  kind of he's kind of a petulant a [TS]

  petulant child in a way you know just [TS]

  the way that he deals with the the guy [TS]

  who's turned it by the art and then he [TS]

  really comes off as it's just this sort [TS]

  of hopeful lost puppy kind of guy he is [TS]

  he is so grasping towards this I they [TS]

  had this idea that Bruce Willis could [TS]

  could possibly be this kind of person [TS]

  that as we said before he almost screws [TS]

  it up because he's too eager like on a [TS]

  first date and and all the way through [TS]

  he has that sort of just it's not [TS]

  overplayed so that it's obnoxious or [TS]

  annoying but it is there in his [TS]

  performance so at the end when we get [TS]

  that really plaintiff and their friends [TS]

  just like we are it is it's a perfect [TS]

  culmination to the entire performance [TS]

  that he's put together throughout this [TS]

  whole film yep he's so happy at the end [TS]

  yes like this is the end of his journey [TS]

  as he is find he is found meaning and we [TS]

  we see that big smile and it freeze [TS]

  frames and we get the text Elijah prices [TS]

  now in an institution for the criminally [TS]

  insane yeah horses yet where are you [TS]

  sensing that's where you said [TS]

  supervillains but I love that moment of [TS]

  like the juxtaposition there like he is [TS]

  finally happy because I mean and this is [TS]

  the we mentioned this earlier like the [TS]

  whole question of like Bruce Willis and [TS]

  feeling like waking up sad and feeling [TS]

  like his life is wrong and there's [TS]

  something wrong with it and he's found a [TS]

  place and a role this same day he has [TS]

  found that and Elijah's found his place [TS]

  too so he has taken that journey but in [TS]

  the end he's a crazy person who killed a [TS]

  lot of people and got convicted of three [TS]

  acts of terrorism and is in the [TS]

  institution for the criminally insane [TS]

  now but at the fact is he's smart [TS]

  there's a smile on his face at the end [TS]

  of the movie so for years now [TS]

  m night shyamalan his talking about is [TS]

  unbreakable you know it was not the big [TS]

  hit that the Sixth Sense was and then [TS]

  like signs was a big hit so I think it [TS]

  was generally thought like well that one [TS]

  was kind of a misfire I would like to [TS]

  believe that over the years it has [TS]

  become more appreciated especially you [TS]

  know as just as time has gone by and [TS]

  maybe it's become kind of a cult classic [TS]

  but shaolin's always kept thinking of it [TS]

  and has threatened from time to time and [TS]

  there's always the stories about where [TS]

  Bruce Willis's yeah I talked to him [TS]

  about it every few years and we maybe [TS]

  we'll do it some day and and that's all [TS]

  there may be some news on that but we're [TS]

  gonna say that for the very end before [TS]

  we do that I wanted to go around one [TS]

  last time and ask for overall final [TS]

  impressions of unbreakable how how did [TS]

  it how did it hold up and did you like [TS]

  it did you love it Erica you use can you [TS]

  summarize sort of where you fall on this [TS]

  I have really mixed feelings about it [TS]

  because when I think about the idea of [TS]

  this film when I think about the [TS]

  direction of it the performance is all [TS]

  of the pieces are things that I really [TS]

  like and I've enjoyed talking about it [TS]

  and breaking it down and I do think that [TS]

  this is a really good movie I just [TS]

  wasn't as entertained by it as I wanted [TS]

  to be so I think I think this is for me [TS]

  as a movie that is better sort of [TS]

  remembered that i can remember the good [TS]

  parts but but the actual sitting through [TS]

  it was not a particularly entertaining [TS]

  or pleasurable experience i mean at the [TS]

  end my very last note is it's fine like [TS]

  that's exactly what i wrote when i [TS]

  finished when i finished watching it but [TS]

  then talking about it here i can i can [TS]

  point to all of these things that I [TS]

  thought were really well done so I think [TS]

  I just won't watch it again if I'm if I [TS]

  if I feel like I need to re-experience [TS]

  this movie I'm just going to come back [TS]

  and listen to this podcast haha fair [TS]

  enough Moises in a world where we've got [TS]

  so much superhero content out there from [TS]

  TV to the movies and I consume so so [TS]

  much of that stuff re watching this [TS]

  movie 17 years later is this massive [TS]

  massive breath of fresh air as if i have [TS]

  not had this kind of fresh air in 17 [TS]

  years this movie you've got him ripping [TS]

  the door off of a car in a practical [TS]

  effect that has weight [TS]

  feeling to it and doesn't doesn't feel [TS]

  silly yes it's bruce willis can [TS]

  benchpress 500 pounds and that's the [TS]

  last time I'm using the joke it has that [TS]

  level of a suspension of disbelief to it [TS]

  but it works and we've seen so many [TS]

  attempts to do grounded gritty [TS]

  street-level superheroes but honestly 17 [TS]

  years ago it was m9 Shyamalan doing [TS]

  white Luke Cage and managing to pull it [TS]

  off I think it's not necessarily going [TS]

  to be the thing that people even people [TS]

  who love the movie like Jason are going [TS]

  to come back to it more than once every [TS]

  five years but it it definitely deserves [TS]

  critical reappraisal and popular [TS]

  reappraisal i love this universe I love [TS]

  this world you know I I think that um [TS]

  you know without saying anything about [TS]

  about the movie itself if people go back [TS]

  and like this movie his new movie split [TS]

  is very very good and if you have found [TS]

  yourself disenchanted with a bunch of [TS]

  his stuff of late I would urge you to [TS]

  urge you to go watch split and not talk [TS]

  to anybody about it in advance just know [TS]

  the James McAvoy is in it and it's very [TS]

  well done Justin final thoughts about [TS]

  unbreakable I adore this movie uh you [TS]

  know leg moyes has said it's a breath of [TS]

  fresh air compared to what else is out [TS]

  there right now as far as comic books [TS]

  comic book movies comic book TV shows [TS]

  the pacing the deliberateness like and [TS]

  it's just it's such a masterful piece of [TS]

  work from a technical standpoint from [TS]

  the cinematography to the fraying to the [TS]

  music to to the audio to the character [TS]

  development you know like like there are [TS]

  so many scenes in this movie that should [TS]

  be required viewing for people who are [TS]

  writing characters or people who are [TS]

  making films you know like the secretary [TS]

  and the babysitter like you you want to [TS]

  talk about character development just [TS]

  watch those two scenes like you don't [TS]

  even need the context of the movie just [TS]

  those scenes in isolation are so [TS]

  powerful and so well done and and the [TS]

  shot you know him in the hospital like I [TS]

  could go on we just talked about it all [TS]

  but it's wonderful and [TS]

  you know it's by no means flawless like [TS]

  there are parts of it that you know [TS]

  could be done better or you know could [TS]

  be edited a little bit you know [TS]

  differently but overall it's such a [TS]

  wonderful wonderful piece of work that [TS]

  it just makes me long for more variety [TS]

  and more deliberateness and more you [TS]

  know very pacing in what we have to [TS]

  choose from today that it actually [TS]

  watching it you know kind of makes me [TS]

  sad that we don't have more variety as [TS]

  far as you know everything that the film [TS]

  has to offer is just like there's [TS]

  nothing else out there like I haven't [TS]

  seen split yet but you know I'm gonna go [TS]

  watch that and I hope that you know it's [TS]

  a little it's another breath of fresh [TS]

  air or 17 years later Dan maybe I'm on [TS]

  the exact opposite end of the spectrum [TS]

  from Erica you're exactly the same [TS]

  except on the other end expect but I [TS]

  there is something deep and visceral in [TS]

  me that I love about this movie and it [TS]

  just the fact that it can evoke feelings [TS]

  in me that are are you know unconscious [TS]

  reactions like the goosebumps I think we [TS]

  all talked about in that scene in the [TS]

  train station like that's not easy that [TS]

  is not a thing that most movies can pull [TS]

  off it is exceptionally hard and it's [TS]

  something that even you know good [TS]

  filmmakers who make otherwise technical [TS]

  solid films sometimes it just doesn't [TS]

  hit you that way and it doesn't hit that [TS]

  way for everybody as we've seen but for [TS]

  me for whatever reason this movie just [TS]

  hits me right in the sweet spot and I [TS]

  and you know again I don't like you [TS]

  Jason I I have I don't watch it [TS]

  regularly I hadn't seen it a long time [TS]

  you know I I love this movie and it is [TS]

  just so well done and I think so much of [TS]

  that I guess I can lay at the feet of [TS]

  going in totally unknowing of what I was [TS]

  in for and and it is is increasingly [TS]

  hard to do that and I love a lot of the [TS]

  movies that we get today and I watched [TS]

  so many of the superhero movies that we [TS]

  get today and I enjoy many of them you [TS]

  know and this movie is not flawless as [TS]

  Justin said there there are definitely [TS]

  some spots that the needle tweaking [TS]

  there are things that are a little bit [TS]

  awkward [TS]

  but overall it is something that is so [TS]

  well done and so totally consistent [TS]

  throughout that you forgive it you [TS]

  forgive it its flaws it's so hard to [TS]

  pull that off it is so very hard to pull [TS]

  that off and and everything you know [TS]

  like Justin said from the music to every [TS]

  you know the technical aspects are well [TS]

  done you know I think Moyes had some [TS]

  great points about how this was a brush [TS]

  of breath of fresh air in terms of so [TS]

  much of what we had seen then and what [TS]

  we're seeing now but I guess it just [TS]

  comes down to me for me being something [TS]

  that I totally buy into I'm in this [TS]

  moment of the movie from almost from the [TS]

  get-go and and that is just is so hard [TS]

  to accomplish it's a rare thing and I [TS]

  agree that this deserves another look [TS]

  for people who are not didn't see it [TS]

  when it came out or don't really know [TS]

  much about it beyond m night shyamalan [TS]

  but is the movie that convinced me that [TS]

  he is a he is a very talented director [TS]

  even if he is not always making movies [TS]

  that that work for all these reasons [TS]

  this this shows the heights of what he [TS]

  could accomplish and you know any [TS]

  director should feel lucky if they [TS]

  manage to pull this off once or twice in [TS]

  their career much less anything more [TS]

  than that all right well I love it too I [TS]

  have loved it since the first time I saw [TS]

  it and again every every few years I [TS]

  will watch it again and I'm reminded of [TS]

  all the reasons that I love it and [TS]

  thinking about it in terms of today's [TS]

  modern superhero movies which I would [TS]

  say you know it's I I think that that [TS]

  gap between as moist as pointed out [TS]

  diamond and Robin and the Sam Raimi's [TS]

  spider-man you could really see that as [TS]

  the gap between not really knowing what [TS]

  the hell to do with superhero movies and [TS]

  figuring it out again and I like a lot [TS]

  of those superhero movies today but they [TS]

  are all summer action tentpole movies [TS]

  with big special effects and explosions [TS]

  and things and although those are fun [TS]

  one of the things I like about [TS]

  unbreakable is that it's deal it's it's [TS]

  dealing in the same ideas but from a [TS]

  very different place and without as much [TS]

  as fun as those explosions and people [TS]

  flying around our it's also fun to see [TS]

  it so grounded as it is here and and so [TS]

  you know for for many reasons it's worth [TS]

  if you haven't if you listen to this you [TS]

  haven't seen in a long time you should [TS]

  go back and watch it because I think it [TS]

  is a little hidden classic that that [TS]

  got lost because it was not the success [TS]

  that the big twist ending six cents [TS]

  movie was which was a phenomenon and [TS]

  this was not all right well that's we're [TS]

  gonna wrap it up here thank you to my [TS]

  panel dan moore and Erica ensign justin [TS]

  michael voices chui yan thank you to you [TS]

  the listener for listening to this [TS]

  episode it was fun I've been meaning to [TS]

  do this since we started the podcast [TS]

  quite frankly and we finally got to it [TS]

  it only took three hundred and forty [TS]

  some episodes but we did it and we'll be [TS]

  back next week with another one about [TS]

  some other topic who knows what until [TS]

  then thank you and goodbye [TS]

  [Music] [TS]

  one last note and I'm going to blow off [TS]

  the little minor spoiler horn here for [TS]

  something that is a tag at the end of [TS]

  the new movie split if you would if you [TS]

  want to go in completely blank as moist [TS]

  as I believe recommends you do yes I [TS]

  promise you you'll be so much happier [TS]

  don't listen to this last part but we [TS]

  will just say this which is split it [TS]

  turns out is related to unbreakable and [TS]

  has a cameo at the very very end by a [TS]

  character from unbreakable and split [TS]

  which has gotten good reviews and good [TS]

  box office that success suggests that [TS]

  maybe the time is ripe for M night [TS]

  Shyamalan to make that proper follow-up [TS]

  of unbreakable at last he has said that [TS]

  the the fact that split an unbreakable [TS]

  being with two different Studios is not [TS]

  an impediment to going forward with a [TS]

  full proper sequel to unbreak I believe [TS]

  he says he's writing something now so [TS]

  that's cool yeah that's good good I'm [TS]

  angry cuz I don't want to watch split [TS]

  but now i got i saw this and have got to [TS]

  I've seen this a few weeks ago I saw [TS]

  this story and I was like well what do [TS]

  they tell you I it was in a headline on [TS]

  some site and it was kind of a guy was [TS]

  like all right well check this out now [TS]

  is there reading it was like wait what [TS]

  what yeah what is happening right now I [TS]

  I don't even want I don't even want to [TS]

  spoil you dant like even though you know [TS]

  the main spoiler itself I don't want to [TS]

  spoil you on on how that is introduced [TS]

  because it's a particular aspect of [TS]

  unbreakable that I know you in [TS]

  particular love da Polly and and we'll [TS]

  even though you know the spoiler you [TS]

  will go in there you will watch split [TS]

  and this thing will happen and Dan morn [TS]

  will be sitting in a movie theater [TS]

  laughing cackling with delight so now so [TS]

  we'll just we'll just leave it at that [TS]

  we could go into more detail I don't [TS]

  think it's worth it just to say that [TS]

  there is a there is a reference that is [TS]

  made in some fashion and you see [TS]

  somebody who you might find familiar and [TS]

  that's the realization she's alicious [TS]

  tell them it's it's the secretary from [TS]

  school yeah [TS]

  babysitter the baby's all grown up [TS]

  babysitter all grown up everybody's the [TS]

  other Bader yeah she'sshe's come back uh [TS]

  you know she was off earth fighting the [TS]

  aliens from signs yeah that's right but [TS]

  not as whoa what yeah [TS]