The Incomparable

342: Sad Superman


00:00:00   the incomparable number 342 March 2017 [TS]

00:00:06   welcome back everybody to the [TS]

00:00:10   incomparable i am your host Jason Snell [TS]

00:00:11   we're here this time to talk about a [TS]

00:00:13   film from the year 2000 it is M night [TS]

00:00:19   Shyamalan that's right he's made a lot [TS]

00:00:21   of movies that people do not like he's [TS]

00:00:23   got quite a reputation he made the sixth [TS]

00:00:26   sense that was a kind of a phenomenon [TS]

00:00:28   his next film was a a sort of a secret [TS]

00:00:35   code to superheroes I suppose although [TS]

00:00:39   looking back it's hard to even believe [TS]

00:00:40   that it's secret but I guess that's the [TS]

00:00:42   position you have after you've seen the [TS]

00:00:44   movie a few times it's unbreakable and [TS]

00:00:45   joining joining us to talk about [TS]

00:00:48   unbreakable on this episode are the [TS]

00:00:51   following superheroes of podcasting [TS]

00:00:53   moises chui yan hello excelsior hi Jason [TS]

00:00:58   how are you it's good to have you here [TS]

00:00:59   dan Morin is also here hi they call me [TS]

00:01:02   mr. class oh do they nope nope no one [TS]

00:01:06   ever has called me that all right [TS]

00:01:08   someday maybe right Erica and sign is [TS]

00:01:11   here hi hi I have a little bit of a cold [TS]

00:01:13   so i'm pretty sure i'm not a superhero [TS]

00:01:15   oh that's true and he wasn't gonna be on [TS]

00:01:20   this episode but I stood in the middle [TS]

00:01:21   of a bus station until he bumped into me [TS]

00:01:23   it's justin michael hi tell me something [TS]

00:01:25   Jason when you woke up this morning was [TS]

00:01:27   it still there the sadness yep cuz he [TS]

00:01:31   knew he was doing this by gazmin want [TS]

00:01:34   want so where to begin should we should [TS]

00:01:37   we start when Jason Jason I have an [TS]

00:01:39   opening statement oh my god you beat me [TS]

00:01:41   to it Jason just just for historical [TS]

00:01:45   purposes and not to not to steal John [TS]

00:01:47   syracuse's most signature signature [TS]

00:01:49   lines but I think we do need a little [TS]

00:01:51   bit of historical context which a lot of [TS]

00:01:54   people for this film would like to would [TS]

00:01:56   like to make all about oh how the movie [TS]

00:01:58   was marketed how the movie was marketed [TS]

00:01:59   does that in the other I don't really [TS]

00:02:01   care about that what I care about is in [TS]

00:02:02   the context of comic book movies there [TS]

00:02:05   are a few historical signposts that [TS]

00:02:07   people should just adjust their [TS]

00:02:09   chronometer 'he's in their minds to not [TS]

00:02:12   only was this pre nine [TS]

00:02:13   11 this was also just after Batman and [TS]

00:02:17   Robin and blade those are the most [TS]

00:02:19   recent comic book movies to have come [TS]

00:02:21   out and it was a full two years before [TS]

00:02:23   Sam Raimi's spider-man the this this was [TS]

00:02:27   a completely different world of [TS]

00:02:28   quote-unquote comic book movie than what [TS]

00:02:31   we face today it was kind of a desert of [TS]

00:02:33   comic book movies in many ways and and [TS]

00:02:35   and i think it's it's fascinating to [TS]

00:02:37   look at it back now 17 years later as [TS]

00:02:40   someone deciding to make a movie of this [TS]

00:02:44   type with certain genre tropes that were [TS]

00:02:47   very very familiar with one might say [TS]

00:02:50   too familiar well at this point and and [TS]

00:02:54   look at the notion of grounding gritty [TS]

00:02:57   real-life superheroes in ways that [TS]

00:02:59   doesn't require them to hit each other [TS]

00:03:01   over the head with toilets interesting [TS]

00:03:03   reference their reference acknowledged [TS]

00:03:05   yeah i think you make some very good [TS]

00:03:08   points it's it's i was going to say [TS]

00:03:09   later on but i'll just say it now you [TS]

00:03:11   know when you've seen 80 different [TS]

00:03:13   origin story movies you get a little [TS]

00:03:15   tired of an origin story and then I was [TS]

00:03:17   watching this saying you know this is an [TS]

00:03:18   origin story too but I not told in the [TS]

00:03:21   same way and it's not a familiar origin [TS]

00:03:23   and it isn't like the third time we've [TS]

00:03:25   seen spider-man's origin and like 10 [TS]

00:03:27   years and so it's a little bit different [TS]

00:03:29   dan did you have a opening statement [TS]

00:03:32   quick comment just setting my own [TS]

00:03:34   context for seeing this I i frequently [TS]

00:03:38   allude to this i think you know to to [TS]

00:03:40   pick up Moises is through a thread about [TS]

00:03:42   marketing I figured Leah Lutz this as I [TS]

00:03:45   think the my favorite and possibly one [TS]

00:03:47   of the best movie trailer zephyr because [TS]

00:03:51   there's a movie trailer for this movie [TS]

00:03:52   that's probably all of a minute and a [TS]

00:03:55   half long or something like that and it [TS]

00:03:57   gives away absolutely nothing about this [TS]

00:04:01   movie I mean basically it's that scene [TS]

00:04:02   from the beginning where he's in the [TS]

00:04:04   hospital and that's it and so I was not [TS]

00:04:08   a pro I did not see the sixth sense [TS]

00:04:10   because I was not really like sort of a [TS]

00:04:12   creepy movie aficionado at that point [TS]

00:04:14   and so I knew basically nothing about [TS]

00:04:17   this going in and to me it remains one [TS]

00:04:20   of the great surprises of that era of [TS]

00:04:23   movies where I went into a movie really [TS]

00:04:25   having zero [TS]

00:04:27   idea what it was about and found myself [TS]

00:04:29   completely blown away and there are some [TS]

00:04:33   choices in here that are not a hundred [TS]

00:04:35   percent but i think you know overall it [TS]

00:04:37   was the fact that it it took me [TS]

00:04:39   completely by surprise and so too often [TS]

00:04:42   i think we all agree that movie trailers [TS]

00:04:44   seem to give up all too much of these [TS]

00:04:47   movies and like you can watch it two and [TS]

00:04:50   a half minute trailer and it basically [TS]

00:04:52   it's like I I don't need to see that now [TS]

00:04:54   and so it was the refreshing even at [TS]

00:04:57   that point to see a movie trailer that [TS]

00:04:58   indeed lived up to the name of a teaser [TS]

00:05:01   where it gave you just enough to want to [TS]

00:05:04   go see the movie and that was about it [TS]

00:05:05   you're gonna grab on my thread I'm going [TS]

00:05:07   to grab on yours I completely agree and [TS]

00:05:09   and people would argue that the plots [TS]

00:05:11   narrative twist or turn toward the end [TS]

00:05:15   of the movie is the twist and it's part [TS]

00:05:17   of his whole gimmick but I feel like his [TS]

00:05:20   subversion of expectation is is [TS]

00:05:23   something that yeah there's that at the [TS]

00:05:25   end of the movie that you can point to [TS]

00:05:28   from a structural perspective but i [TS]

00:05:30   think that the bigger twist is is [TS]

00:05:33   specifically that in setting it up as [TS]

00:05:36   this is something that you want to see [TS]

00:05:37   and not explaining every last little bit [TS]

00:05:41   of what this movie is going to be what [TS]

00:05:43   it is about and leaving that a mystery [TS]

00:05:44   is the most effective twists in in this [TS]

00:05:48   in this movie and in this era of his [TS]

00:05:50   filmmaking this is a movie about a [TS]

00:05:53   superhero's origin story that was not [TS]

00:05:56   marketed as being even in the superhero [TS]

00:05:58   genre for people who don't remember the [TS]

00:06:01   sixth sense was a huge hit unexpected it [TS]

00:06:05   has a huge twist at the end it's one of [TS]

00:06:07   those famous movie twists you're not [TS]

00:06:09   supposed to spoil [TS]

00:06:13   Bruce Willis is dead the entire time by [TS]

00:06:17   the way cuz look what I did there I've [TS]

00:06:19   been dead for this last five years of [TS]

00:06:21   these podcasts but nobody talks about [TS]

00:06:23   that well we all knew that damn not a [TS]

00:06:26   twist so Shyamalan came from nowhere had [TS]

00:06:29   this huge hit so there was there was a [TS]

00:06:30   lot of pressure on him a lot of like [TS]

00:06:32   what's the what's the follow-up gonna be [TS]

00:06:34   worried about the sophomore slump how is [TS]

00:06:36   he going to top himself all of these [TS]

00:06:38   things and this is a funny movie for [TS]

00:06:40   that because then after this you know we [TS]

00:06:43   can we can debate the various films that [TS]

00:06:44   he made after this I think he made you [TS]

00:06:47   know I yeah we could debate it but he [TS]

00:06:49   certainly doesn't go to a justly [TS]

00:06:51   maligned you can hear defenses of many [TS]

00:06:52   of them yeah exactly but he's definitely [TS]

00:06:55   got my reputation and and although i [TS]

00:06:57   will say in the last few years he's kind [TS]

00:06:59   of worked his way back to sort of [TS]

00:07:01   rebuilding his uh his credibility a [TS]

00:07:03   little bit at the box office keep in [TS]

00:07:05   mind it and this is this is a man who [TS]

00:07:08   engendered so much let's just say man I [TS]

00:07:12   I hesitate to call hatred but I've never [TS]

00:07:14   I have never been in a movie theater and [TS]

00:07:16   seeing someone's name get booed before [TS]

00:07:19   and I trailer I mean is realer oh it was [TS]

00:07:23   it was crazy like that is just a like a [TS]

00:07:26   phenomenon that I have never seen since [TS]

00:07:28   or before and that like shows you just [TS]

00:07:31   how much strong feelings people have [TS]

00:07:34   about this guy love them or hate him you [TS]

00:07:37   know it's better especially hatem it [TS]

00:07:39   seems but it's fascinating and and it's [TS]

00:07:41   weird for me coming from perspective of [TS]

00:07:43   and I'll put my cards on the table here [TS]

00:07:44   I love this movie I don't think it's [TS]

00:07:47   perfect but I really love it I love it [TS]

00:07:49   because it was so unexpected I love it [TS]

00:07:52   because I do love this exploration of of [TS]

00:07:56   comic book superhero ideas without you [TS]

00:07:59   know without it being explicit at least [TS]

00:08:01   at first and and in a grounded way that [TS]

00:08:05   you know you're Batman and Robin's were [TS]

00:08:08   not at the time and it's actually kind [TS]

00:08:10   of hard to express love of any movie by [TS]

00:08:14   mem night Shyamalan because people do [TS]

00:08:17   roll their eyes because he really has [TS]

00:08:20   got this uh you know reputation in in [TS]

00:08:23   some circles but I I would for I would [TS]

00:08:25   argue that this is a legitimate [TS]

00:08:26   good movie and that's why I decided we [TS]

00:08:29   were gonna talk about it so thanks for [TS]

00:08:31   coming on the podcast everybody I think [TS]

00:08:34   Shyamalan over overall you know despite [TS]

00:08:37   the bad rap in the in the flawed movies [TS]

00:08:39   he's made he still stands out in my mind [TS]

00:08:42   as a director who makes choices there's [TS]

00:08:46   something very deliberate about his [TS]

00:08:48   filmmaking and I think that that that [TS]

00:08:51   shows through in a way that if you watch [TS]

00:08:52   you know a ton of different films that [TS]

00:08:55   come out these days or in the last [TS]

00:08:56   decade or two there's a lot of stuff [TS]

00:08:59   that won't leave an impact on you one [TS]

00:09:00   way or the other because it feels very [TS]

00:09:02   bland it feels as though there have not [TS]

00:09:04   been any risks taken it feels as though [TS]

00:09:06   everything is sort of cookie cutter and [TS]

00:09:08   I feel like again once despite all the [TS]

00:09:12   other things you can say about Shyamalan [TS]

00:09:13   he makes distinct choices he does things [TS]

00:09:15   for purpose and reason I think you know [TS]

00:09:19   he every shot is intended to have a [TS]

00:09:21   meaning behind it and he comes across as [TS]

00:09:25   Hitchcockian to me in his best moments [TS]

00:09:27   it's not all of his moments but like [TS]

00:09:28   that to me is you know I think he's one [TS]

00:09:30   of a very few number of directors [TS]

00:09:32   especially working in sort of these [TS]

00:09:33   pulpy genre films who really seems to [TS]

00:09:37   know what he's about and what he's doing [TS]

00:09:39   making choices is is one of the things [TS]

00:09:41   that that I was really noticing when I [TS]

00:09:44   rewatched this for the podcast and that [TS]

00:09:46   but I respect this movie and I respect [TS]

00:09:50   him as a director because it was so [TS]

00:09:53   clear that he was taking care with with [TS]

00:09:55   all of the shots with all the choices [TS]

00:09:57   that he made some of them were not [TS]

00:09:59   choices that led me to enjoy the movie [TS]

00:10:01   anymore but I thought they were good [TS]

00:10:04   solid choices so it's it's kind of this [TS]

00:10:06   thing where I really respect it and [TS]

00:10:07   think it is a good film but don't [TS]

00:10:09   necessarily want to jump into rewatching [TS]

00:10:12   it again any time super soon yeah [TS]

00:10:14   deliberate is exactly the word to [TS]

00:10:16   describe his filmmaking and he's very [TS]

00:10:18   deliberate in his pacing he's very [TS]

00:10:21   deliberate in his choices his framing [TS]

00:10:24   his cement cinematography and he's very [TS]

00:10:27   deliberate when it comes to crafting the [TS]

00:10:29   story that he wants to craft regardless [TS]

00:10:32   of what else is going on in the [TS]

00:10:34   cinematic world you know like his films [TS]

00:10:36   are different and I don't think they're [TS]

00:10:38   different because he tries to make them [TS]

00:10:40   differ [TS]

00:10:40   I think they're different just because [TS]

00:10:42   he tells the story the way he wants to [TS]

00:10:44   tell it without much regard to what else [TS]

00:10:48   is going on and that really shines [TS]

00:10:50   through and that's where a lot of the [TS]

00:10:51   the hatred comes from and the the [TS]

00:10:54   unhappiness from the audience because [TS]

00:10:56   people go to the movies and they expect [TS]

00:10:58   certain things and he's not afraid to [TS]

00:11:00   subvert those expectations and some [TS]

00:11:03   people love it and some people don't all [TS]

00:11:05   right let's dive into the plot and then [TS]

00:11:06   when you guys will i'm sure all stop me [TS]

00:11:09   when you want to say something because [TS]

00:11:10   that's what happens in this podcast it's [TS]

00:11:12   sort of our thing now when i go through [TS]

00:11:14   the plot but uh i think that's a good [TS]

00:11:16   place to start is just gonna walk [TS]

00:11:17   through the plot and see what pops out [TS]

00:11:19   at us when i went to see this movie for [TS]

00:11:21   the first time and the texture it's [TS]

00:11:23   popping up on the screen and talking [TS]

00:11:24   about comic books i was like what the [TS]

00:11:25   hell is this movie you're good to point [TS]

00:11:28   that out dan that this is that this [TS]

00:11:30   movie starts with several lines of text [TS]

00:11:32   talking about comic books and how many [TS]

00:11:35   comic books are sold and it is kind of a [TS]

00:11:37   funny moment this is why sometimes we'll [TS]

00:11:39   get to the end when at the end but [TS]

00:11:42   sometimes when I hear people say like oh [TS]

00:11:44   I can't believe what happens at the end [TS]

00:11:46   and all that's like i watch this movie [TS]

00:11:48   now and I think it's also are there it's [TS]

00:11:52   all there in fact you could have done [TS]

00:11:55   and you could have done without the [TS]

00:11:57   comic book thing and I remember watching [TS]

00:11:59   this with a friend of mine who was [TS]

00:12:00   really into comics at the time and he [TS]

00:12:01   was like he felt I want to say exactly [TS]

00:12:04   like he felt it was appropriate of but [TS]

00:12:05   he's like oh yeah it's just someone else [TS]

00:12:06   trying to prove how comics are cool and [TS]

00:12:08   it seems it just seems a little forced [TS]

00:12:12   and maybe I don't know if this was a [TS]

00:12:13   choice on his part or get a choice on [TS]

00:12:15   someone else as far as like you need to [TS]

00:12:17   justify what you're making movie about [TS]

00:12:19   comic book you know what shevlin is [TS]

00:12:21   trying to do here is is he's posing a [TS]

00:12:24   little puzzle for the audience right [TS]

00:12:25   which is what is this movie that I'm [TS]

00:12:27   about to show you have to do with comic [TS]

00:12:29   books like and then it's almost like he [TS]

00:12:31   just plants it and like now you can [TS]

00:12:32   forget about it which I did the next [TS]

00:12:35   scene is also like you could forget [TS]

00:12:37   about it and then you were reminded of [TS]

00:12:38   it later and I think that's kind of [TS]

00:12:40   interesting that he's like I'm just [TS]

00:12:42   gonna leave this here pay no attention [TS]

00:12:43   and you know but then if we watch it [TS]

00:12:46   again you're like oh yeah he's laying it [TS]

00:12:48   all out there you just you may not know [TS]

00:12:50   what to do with it but you're laying it [TS]

00:12:51   all out there and likewise when we see [TS]

00:12:52   the scene of a baby being born [TS]

00:12:54   department store in Philadelphia in 1961 [TS]

00:12:57   the that you know we leave that for a [TS]

00:13:00   long time before we finally go back and [TS]

00:13:03   there's another flashback more like oh [TS]

00:13:05   yeah the baby at the beginning right [TS]

00:13:07   because it's it's a being deliberate [TS]

00:13:09   with it the the scene where Elijah prize [TS]

00:13:12   is born in the department store is a a [TS]

00:13:15   beginning I mean the directors presence [TS]

00:13:18   is felt throughout this film and this is [TS]

00:13:20   a scene where it's absolutely felt [TS]

00:13:22   there's a mirror there are people [TS]

00:13:24   there's a woman on the floor who's just [TS]

00:13:26   giving birth to this baby who's crying [TS]

00:13:28   there are people coming in that are [TS]

00:13:29   behind us we are seeing them through the [TS]

00:13:31   mirror at various points we also the [TS]

00:13:34   camera moves and shifts the perspective [TS]

00:13:36   so you look back at them and then back [TS]

00:13:38   in the mirror it's a really interesting [TS]

00:13:40   scene of this baby who the doctor comes [TS]

00:13:45   and asked if ever anybody has dropped [TS]

00:13:46   the baby because the baby has many [TS]

00:13:48   broken bones and that's why it's crying [TS]

00:13:50   the look on aim and walkers face in that [TS]

00:13:52   delivery is also fascinating because [TS]

00:13:55   it's there's a the horror on his face to [TS]

00:13:58   a certain extent is just really [TS]

00:14:00   disconcerting and again I remember [TS]

00:14:01   watching that for the first time and and [TS]

00:14:03   still trying to figure out what kind of [TS]

00:14:05   movie this was and wondering if there's [TS]

00:14:06   yeah like is it disfigured like what is [TS]

00:14:08   what is happening and I didn't realize [TS]

00:14:10   you and this time watching it again I [TS]

00:14:11   think I got a different a slightly [TS]

00:14:13   different spin on it because there's [TS]

00:14:15   almost a like there's almost a racial [TS]

00:14:18   overtones the 60s they call for a black [TS]

00:14:20   doctor for him right right call for [TS]

00:14:22   black doctor and the way he looks at the [TS]

00:14:23   white women like did you did you drop [TS]

00:14:25   the baby like you know is it's there's a [TS]

00:14:28   charged bit of it there and then the [TS]

00:14:32   mirror shot that you point out which [TS]

00:14:33   with the first several times that we see [TS]

00:14:35   this character he's always in reflection [TS]

00:14:37   and of course I'm I notice is like I [TS]

00:14:40   n-nice use the mirror and then after [TS]

00:14:41   that it goes its glass which i think is [TS]

00:14:45   intentional right like oh yeah yeah it's [TS]

00:14:47   an inflectional glass again he's making [TS]

00:14:49   choices there may be a little ham-fisted [TS]

00:14:52   in retrospect but you don't see them [TS]

00:14:55   going in I want to take a brief break to [TS]

00:14:57   remind you about how you can support [TS]

00:14:59   this podcast this is the time of year [TS]

00:15:01   when we do this it's by becoming a [TS]

00:15:04   member of the incomparable you can sign [TS]

00:15:05   up for a monthly or annual pledge [TS]

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00:16:09   episodes just for members in that bonus [TS]

00:16:12   feed our bonus episode just dropped it's [TS]

00:16:16   a full-length screen specific commentary [TS]

00:16:19   track for Raiders of the Lost Ark that's [TS]

00:16:22   what you play Raiders and you play our [TS]

00:16:24   podcast and you listen as we talk you [TS]

00:16:28   can watch the movie and it's like your [TS]

00:16:29   listing to us while watching a movie [TS]

00:16:31   it's like we're in your living room [TS]

00:16:32   that's what it's like it's like me and [TS]

00:16:35   Dan Morin and John siracusa and David [TS]

00:16:37   lore and Monta Ashley are sitting with [TS]

00:16:39   you on your couch watching raiders of [TS]

00:16:41   the lost ark and making comments and [TS]

00:16:43   jokes and John Syracuse and Mesa say [TS]

00:16:46   something at some point about snake [TS]

00:16:47   farts but I'm gonna leave that to you as [TS]

00:16:48   a member to discover exactly what he [TS]

00:16:51   says they're our contribution levels for [TS]

00:16:53   incomparable memberships at five ten and [TS]

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00:17:19   I hadn't seen this for years and what [TS]

00:17:22   the very first thing I wrote down in my [TS]

00:17:23   notes after the first couple of scenes [TS]

00:17:25   was very unsettling in the beginning and [TS]

00:17:28   you know it going back to those title [TS]

00:17:32   cards with with the the text about the [TS]

00:17:34   comics it's like okay we're talking [TS]

00:17:36   about comic books that's fairly light [TS]

00:17:38   hearted subject and then we go into the [TS]

00:17:40   scene with the baby who's got broken [TS]

00:17:42   bone since like wow and like like you [TS]

00:17:45   said like that's a very emotionally [TS]

00:17:47   charged seen you can feel the tension in [TS]

00:17:49   that room and it's like we went from [TS]

00:17:51   comic books to this and like by the time [TS]

00:17:53   the that scene ends I forgot the the [TS]

00:17:57   comic text like it's gone like and then [TS]

00:18:00   we go to the train and on the train he's [TS]

00:18:03   sitting there and you know this very [TS]

00:18:06   awkward uncomfortable feeling and it's [TS]

00:18:09   just like like a roller coaster of [TS]

00:18:11   emotions it doesn't let you get your [TS]

00:18:13   footing at all and I think that's very [TS]

00:18:15   intentional and I think it helps to [TS]

00:18:18   sweep you off of wherever you are coming [TS]

00:18:21   into the movie and getting you ready for [TS]

00:18:23   like whatever he's going to throw at you [TS]

00:18:26   nets because it almost puts you on the [TS]

00:18:27   defensive in a good way I agree and I [TS]

00:18:30   think something that is present [TS]

00:18:31   throughout the whole movie and that we [TS]

00:18:32   see here in in both the the way that we [TS]

00:18:36   we get these first two transitions at [TS]

00:18:39   the very beginning of the movie as well [TS]

00:18:40   as the framing throughout which would [TS]

00:18:43   consider i mean the cinematography [TS]

00:18:45   choices that are made are oh this is [TS]

00:18:47   weird this is strange oh why are we [TS]

00:18:49   doing the the bobbing back and forth [TS]

00:18:51   perspective of a little girl the thing i [TS]

00:18:53   found most fascinating about that [TS]

00:18:55   looking back at it it is really some of [TS]

00:18:57   the most comics inspired panel layout [TS]

00:19:01   design that I've son cinematically to [TS]

00:19:03   this date and there are a ton of billion [TS]

00:19:05   dollar comic book movies that have been [TS]

00:19:07   made that don't have the kind of really [TS]

00:19:09   arresting visuals that this does in the [TS]

00:19:11   first two micro scenes and that the big [TS]

00:19:14   thing about comic storytelling that you [TS]

00:19:16   know you you read any of the different [TS]

00:19:17   books that have been made by people who [TS]

00:19:20   really know their stuff when it comes to [TS]

00:19:21   comic story telling is that each page [TS]

00:19:23   ends on a cliffhanger and that's the way [TS]

00:19:26   that he structures the scenes where we [TS]

00:19:28   get a little bit of information but [TS]

00:19:30   we're left just off kilter enough [TS]

00:19:32   and wanting to propel forward just [TS]

00:19:36   relentlessly throughout the movie you [TS]

00:19:38   know they're people who have issues the [TS]

00:19:39   pacing I think they can go jump off a [TS]

00:19:41   bridge because that that might be a more [TS]

00:19:43   useful I've it might be superheroes oh [TS]

00:19:46   it could be they could be because this [TS]

00:19:48   movie told me that everybody should be a [TS]

00:19:49   superhero they could be just got to [TS]

00:19:51   think about it a certain way but there [TS]

00:19:54   that that particular bit of I guess you [TS]

00:19:58   would say danger of being a little bit [TS]

00:20:00   off-kilter just in the amount of [TS]

00:20:02   information you get it doesn't feel [TS]

00:20:04   artificially done to to a frustrating [TS]

00:20:08   level but it's enough that you you don't [TS]

00:20:12   feel like all the cards are being held [TS]

00:20:14   by somebody else and you're being fooled [TS]

00:20:16   and you know the kinds of the kinds of [TS]

00:20:19   dynamics that you that you see in [TS]

00:20:21   suspense or thriller movies that end up [TS]

00:20:23   making a go out come on or the stuff [TS]

00:20:25   that a lot of people came to associate a [TS]

00:20:27   lot of his later work with which is all [TS]

00:20:28   right fine okay great you get me once or [TS]

00:20:31   twice but on the third time I'm done [TS]

00:20:32   with you there are a lot of things in [TS]

00:20:33   here as we go through we'll probably [TS]

00:20:35   talk about how they are uncommon book [TS]

00:20:37   movie like in in the way in the choices [TS]

00:20:40   that are made in the things we don't see [TS]

00:20:42   there are basically I mean I know there [TS]

00:20:46   are special effects that you don't see [TS]

00:20:47   but there are basically no special [TS]

00:20:49   effects in this movie that's an [TS]

00:20:52   interesting choice some choices for [TS]

00:20:54   spectacular action or you know least [TS]

00:20:56   spectacle scenes aren't are avoided [TS]

00:20:59   they're not shown like the train crash [TS]

00:21:01   lots of interesting decisions that are [TS]

00:21:06   made that make this feel like a very [TS]

00:21:08   different kind of movie and the [TS]

00:21:09   deliberate the slow build like here we [TS]

00:21:11   get we get a flashback and if we get the [TS]

00:21:14   title card we got a flashback and then [TS]

00:21:15   we get the train scene which is Bruce [TS]

00:21:18   Willis is on a train and he's looking [TS]

00:21:20   out the window and you know and a woman [TS]

00:21:25   sits down next to him and they have a [TS]

00:21:27   conference he takes off his wedding ring [TS]

00:21:28   which is a you gotta be gotta be paying [TS]

00:21:31   attention but he takes off his wedding [TS]

00:21:32   ring slides it off we don't know that [TS]

00:21:34   we're immediately put on the the wrong [TS]

00:21:36   foot with him like but will Bruce Willis [TS]

00:21:38   is the star of this movie and the first [TS]

00:21:39   thing he does you know is implying happy [TS]

00:21:42   that he's dead he's cheating on his wife [TS]

00:21:44   and [TS]

00:21:45   and he he tries to have a conversation [TS]

00:21:47   with him then pick up the young sports [TS]

00:21:50   agent who sits down next to him and that [TS]

00:21:52   gets really painful and awkward and then [TS]

00:21:54   she leaves and also he's being kind of [TS]

00:21:56   watched from the row in front of him by [TS]

00:21:58   a kid sort of upside down at one point [TS]

00:22:01   and not for the last time upside down [TS]

00:22:04   that's also a trope that gets rehabbed [TS]

00:22:06   several times but we get to see the [TS]

00:22:08   whole awkward conversation that he has [TS]

00:22:10   with the sports agent and and then he [TS]

00:22:13   puts his wedding ring back on and the [TS]

00:22:16   you know then the scene ends with him [TS]

00:22:18   looking at the window and the train [TS]

00:22:20   starts honking its horn uh you know and [TS]

00:22:24   and the the noise we will watch this and [TS]

00:22:27   I've got the 5.1 audio system and [TS]

00:22:29   there's a lot of really great surround [TS]

00:22:31   and subwoofer in this movie again with [TS]

00:22:34   care it builds and is loud and the train [TS]

00:22:37   gets louder and louder and louder as [TS]

00:22:39   we're getting to that moment where it's [TS]

00:22:41   going to crash and then hard cut silence [TS]

00:22:46   and it's a it's pretty spectacular yeah [TS]

00:22:50   there's there's two things that I wanted [TS]

00:22:51   to call out with the scene and one of [TS]

00:22:54   them is right in the beginning right [TS]

00:22:55   when it opens with Bruce Bruce was like [TS]

00:22:59   putting his head against the window [TS]

00:23:00   watching the world go by where it just [TS]

00:23:02   opens the look on his face tells you so [TS]

00:23:06   much about his character just just [TS]

00:23:09   looking out that window and that is like [TS]

00:23:12   the the first of many little moments [TS]

00:23:15   throughout the movie that just have like [TS]

00:23:17   a wealth of character building in a [TS]

00:23:19   single scene or a single sequence and [TS]

00:23:22   it's just it's wonderful and then the [TS]

00:23:24   second thing was was again that that kid [TS]

00:23:26   in the front like they show the kid you [TS]

00:23:30   know initially and then we we go to her [TS]

00:23:33   and his conversation with what the lady [TS]

00:23:35   that he's trying to pick up and then we [TS]

00:23:37   go back to the kid and I thought that [TS]

00:23:40   was a wonderful way to bookend that [TS]

00:23:42   sequence this is almost a short movie in [TS]

00:23:44   and of itself but I got fail yeah pick [TS]

00:23:46   up a lady and there's so much good thing [TS]

00:23:49   packed in here from the body language I [TS]

00:23:51   just the scene where she were the bit [TS]

00:23:53   where she says I'm married and sort of [TS]

00:23:55   like she crosses her arms across her [TS]

00:23:56   chest everything gets super aqua [TS]

00:23:59   heard all of a sudden there's [TS]

00:24:01   foreshadowing when she talks about the [TS]

00:24:03   quarterback at the college right he's [TS]

00:24:06   gonna be a god and as we later realize [TS]

00:24:08   this is you know sort of evidence of his [TS]

00:24:11   own his own road not taken right plus we [TS]

00:24:14   see that guy later which is a rare yes [TS]

00:24:16   sad nice touch twice twice actually i [TS]

00:24:19   believe ya sees him playing football and [TS]

00:24:21   then he sees him with the kids rom and [TS]

00:24:23   the fear of water is brought up very [TS]

00:24:25   early when he talked about not being [TS]

00:24:26   able to be a synchronized swimmer right [TS]

00:24:28   like all of this is just all packed in [TS]

00:24:31   and like you know like Justin said like [TS]

00:24:33   it's so economical and yet accomplishes [TS]

00:24:35   so many things in such a short little [TS]

00:24:38   time and it's very very realistic I mean [TS]

00:24:42   if you have ever if a guy has ever sat [TS]

00:24:44   down next to you and tried to pick you [TS]

00:24:45   up not sure if that's happened but it [TS]

00:24:46   has to me and yeah that is that is [TS]

00:24:49   exactly the kind of awkward that it [TS]

00:24:51   feels like yeah and another thing about [TS]

00:24:53   this scene is the you know the sequence [TS]

00:24:55   from the camera moving left and right [TS]

00:24:58   from the seat in front right we're for [TS]

00:25:01   yours here we are we're watching the [TS]

00:25:03   Apple happen between the crits the crack [TS]

00:25:05   between the two seats if the r of the [TS]

00:25:07   row ahead is how we see the whole thing [TS]

00:25:09   the other thing that the the camera work [TS]

00:25:12   here accomplishes you know in in [TS]

00:25:14   addition to the sense of voyeurism is [TS]

00:25:17   the fact that you only see one character [TS]

00:25:19   at a time you either see Bruce or you [TS]

00:25:22   see her and through that you know [TS]

00:25:26   through that framing he's able to direct [TS]

00:25:29   the audience the audience's focus [TS]

00:25:30   exactly where he wants it like if he [TS]

00:25:33   wants you to see her body language when [TS]

00:25:35   he's saying something he does that but [TS]

00:25:38   it's not forced and it's not something [TS]

00:25:40   you notice when you're watching the [TS]

00:25:42   scene it's just it's so well done from [TS]

00:25:44   top to bottom like dan like you said [TS]

00:25:46   it's like a movie in a scene right here [TS]

00:25:49   and I just I love it to do like like [TS]

00:25:51   Justin I had not watched this movie in [TS]

00:25:53   years although I've seen it several [TS]

00:25:55   times and what amazed me about it was [TS]

00:25:58   how much shots stuck with me there are [TS]

00:26:02   just images and scenes and like [TS]

00:26:05   composition shots that have stuck that I [TS]

00:26:08   immediately recognized immediately [TS]

00:26:09   remembered that even though I haven't [TS]

00:26:11   seen this movie [TS]

00:26:13   decade probably like it was amazing how [TS]

00:26:15   much of that stuck with the ants it's a [TS]

00:26:17   testament to the cinematography in the [TS]

00:26:18   direction here is just like these again [TS]

00:26:21   the choices made they stick with you [TS]

00:26:23   because they are deliberate and they are [TS]

00:26:25   they are very measured in the way that [TS]

00:26:27   they accomplish you know like try to [TS]

00:26:29   accomplish a specific message through [TS]

00:26:31   not only what's being done on screen but [TS]

00:26:33   how it's being shown he uses a bunch of [TS]

00:26:35   old cinema technique stuff that you [TS]

00:26:36   would see in Hitchcock that are things [TS]

00:26:39   that things things people try to emulate [TS]

00:26:42   these days from those you know old [TS]

00:26:44   masters as it were tend to be the more [TS]

00:26:46   gimmicky stuff and not the direct [TS]

00:26:49   directed attention filmmaking is Justin [TS]

00:26:53   alluded to so the train crash happens [TS]

00:26:56   off-screen because our our next scene is [TS]

00:27:00   actually a boy upside down watching a TV [TS]

00:27:05   watching the TV and this is this is we [TS]

00:27:08   learn this is Bruce Willis who is david [TS]

00:27:10   dunn this is his son he's watching TV he [TS]

00:27:14   flips around we get a little Powerpuff [TS]

00:27:16   Girls happen in the middle there and [TS]

00:27:17   then we end up with the scene of a [TS]

00:27:20   terrible train derailment and then he [TS]

00:27:23   turns back around right side up and [TS]

00:27:26   looks at this and and goes over to the [TS]

00:27:29   calendar in the other room to see this [TS]

00:27:31   the sticky note that says that that's [TS]

00:27:33   his dad's train and then the next scene [TS]

00:27:37   after that is a scene in the hospital [TS]

00:27:39   where Bruce Willis is he sits up and in [TS]

00:27:42   the foreground they're working on a [TS]

00:27:45   patient and if you're focused on Bruce [TS]

00:27:47   Willis in the background by the way you [TS]

00:27:49   will you will miss the blood begin to [TS]

00:27:51   read across that bridge occasion shot so [TS]

00:27:54   there's a lot house a lot happening at [TS]

00:27:55   the beginning of this movie and and in [TS]

00:27:57   the background the conversation is [TS]

00:27:59   happening between Bruce Willis and a [TS]

00:28:01   doctor about the fact that he's trying [TS]

00:28:07   to figure out like were you sitting in a [TS]

00:28:08   special place you know that this [TS]

00:28:11   happened and Bruce Willis doesn't really [TS]

00:28:12   understand what's going on i get i get [TS]

00:28:14   the sense from this that he's been [TS]

00:28:15   unconscious until this point but then [TS]

00:28:19   you know he's about to be after this guy [TS]

00:28:21   dies basically he's about to be the last [TS]

00:28:23   survivor between crash [TS]

00:28:25   he doesn't have a scratch on him this [TS]

00:28:28   scene is framed perfectly it's shot [TS]

00:28:31   perfectly that's slow zoom plus the [TS]

00:28:34   blood plus like the the audio work like [TS]

00:28:38   it's it's all just spot-on and lets I [TS]

00:28:42   mean let's couple this scene with the [TS]

00:28:43   immediate following scene which is also [TS]

00:28:45   amazing which is it's all the people all [TS]

00:28:48   the people waiting at the hospital for [TS]

00:28:50   word about their loved ones we know and [TS]

00:28:53   we I think we may be are hearing the [TS]

00:28:54   last words of the doctor as that scene [TS]

00:28:57   begins which is we know everybody else [TS]

00:29:00   on the train died which means everybody [TS]

00:29:02   waiting at the hospital is waiting in [TS]

00:29:04   vain their loved ones are dead and he is [TS]

00:29:08   walking out of there with his kind of [TS]

00:29:10   messed up clothes but he's just walking [TS]

00:29:12   out without the the the scratch on him [TS]

00:29:14   and then you know his his son sees him [TS]

00:29:16   and runs to him and was a nice pan shot [TS]

00:29:19   like sort of a dolly shot around him and [TS]

00:29:21   just the looks on everyone's faces in [TS]

00:29:24   that scene are almost chillin I think [TS]

00:29:28   and what are they thinking or looking at [TS]

00:29:30   him one of these think what are they [TS]

00:29:32   thinking are they thinking well if this [TS]

00:29:33   guy survived maybe somebody else did are [TS]

00:29:36   they are they angry at him because he's [TS]

00:29:38   revived during grade him to me it always [TS]

00:29:40   looks like that no mm-hmm the thing that [TS]

00:29:42   I like about this scene is as they're [TS]

00:29:44   walking out of the hospital first you [TS]

00:29:46   get the kid putting his parents hands [TS]

00:29:48   and in each other and like you you see [TS]

00:29:51   immediately what's going on and then as [TS]

00:29:53   they're walking they they drop the hand [TS]

00:29:55   so like all this you know the context of [TS]

00:29:58   the first scene of him taking his his [TS]

00:30:00   wedding ring off and putting in his [TS]

00:30:01   pocket it makes so much more sense now [TS]

00:30:03   like okay he's not necessarily the [TS]

00:30:05   complete slimeball that I maybe thought [TS]

00:30:07   he was in that earlier scene they are [TS]

00:30:09   having trouble maybe they're even [TS]

00:30:10   separated like I wasn't exactly sure [TS]

00:30:12   what was what was going on with that [TS]

00:30:13   it's just economy at once again economy [TS]

00:30:16   and deliberateness of the framing of the [TS]

00:30:19   shots you know so much more about what [TS]

00:30:21   is going on now the the information [TS]

00:30:23   that's been given in such a tight amount [TS]

00:30:25   of time is pretty fantastic yeah we're [TS]

00:30:27   what like five minutes into the movie [TS]

00:30:28   yeah yeah like we have all of this [TS]

00:30:31   information and we're just barely into [TS]

00:30:33   it it's very much like an issue of a [TS]

00:30:35   comic book and you get a gigantic amount [TS]

00:30:37   of information thrown in [TS]

00:30:39   you're mine in six frames so i could see [TS]

00:30:41   one of the criticisms of this film being [TS]

00:30:43   that it that it does it is deliberate [TS]

00:30:45   and you could say that the pacing is is [TS]

00:30:48   slow in some ways I think what shemal n [TS]

00:30:52   is doing here is downloading us enough [TS]

00:30:56   that we are willing to take it slow as [TS]

00:30:59   there as the discovery happens I think [TS]

00:31:01   that's what at least what he's trying to [TS]

00:31:02   do because we have just spent a lot of [TS]

00:31:04   time talking about the first maybe five [TS]

00:31:06   minutes the first three or four scenes [TS]

00:31:08   of this film but I think that's what [TS]

00:31:09   he's doing right he's saying okay I'm [TS]

00:31:11   gonna give you everything you need to [TS]

00:31:12   know I'm gonna be economical about it [TS]

00:31:14   and then you're gonna be you're gonna be [TS]

00:31:16   interested enough to follow me from here [TS]

00:31:17   yeah and it almost worked I was I was [TS]

00:31:23   really interested in all of this it's [TS]

00:31:25   just I think and actually i might as [TS]

00:31:27   well talk here about another one of the [TS]

00:31:28   deliberate choices which which you have [TS]

00:31:30   seen at this point and that is the the [TS]

00:31:32   color palette of this film and the [TS]

00:31:34   writing is very very deliberately just [TS]

00:31:37   sort of dull and and the pacing also [TS]

00:31:41   sort of feels deliberate and I don't [TS]

00:31:43   want a dull on the on the pacing because [TS]

00:31:45   that's that's not quite right but it is [TS]

00:31:46   it is it is showing you that this is [TS]

00:31:48   this is an ordinary guy this is a schlub [TS]

00:31:50   he is he's just a dude and and I feel [TS]

00:31:54   like these first few scenes have really [TS]

00:31:56   have really built that very well and I [TS]

00:31:58   was interested but as we go on it's like [TS]

00:31:59   yep he continues to be just an ordinary [TS]

00:32:02   guy for quite a long time and I just [TS]

00:32:04   don't care about him that much that's [TS]

00:32:05   what I agree I I think I think yeah you [TS]

00:32:07   I I think you could argue that the that [TS]

00:32:09   it goes a little too long in that [TS]

00:32:11   interim where he is sort of unclear and [TS]

00:32:14   that they do a couple of things you know [TS]

00:32:16   he has a couple of conversations with [TS]

00:32:17   Samuel Jackson it's like I don't know if [TS]

00:32:19   you really needed them but but I think [TS]

00:32:22   it is interesting here you mentioned the [TS]

00:32:23   color palette and I want to get back to [TS]

00:32:25   that but the color palette is dull [TS]

00:32:27   except when it's not and that's an [TS]

00:32:29   interesting choice that he makes it's [TS]

00:32:30   like the color palette is is faded so [TS]

00:32:33   that he can have certain bursts of color [TS]

00:32:36   to represent beside things well and and [TS]

00:32:39   in Samuel Jackson's purple area things [TS]

00:32:42   yeah yeah the ball the people that he [TS]

00:32:43   bumps into and exactly accentuates the [TS]

00:32:45   red in their coat or the green in there [TS]

00:32:47   should everything else is cream and [TS]

00:32:50   white and gray and [TS]

00:32:51   well this is color in general too i mean [TS]

00:32:53   because not only Samuel Jackson's use of [TS]

00:32:56   purple but the fact that David mostly [TS]

00:32:59   wears green in both in his sort of dirty [TS]

00:33:02   uniform as well see wearing a green [TS]

00:33:03   shirt at the beginning you know [TS]

00:33:05   obviously everything is chosen and those [TS]

00:33:07   again superhero tropes right like even [TS]

00:33:09   when you have those superheroes wear [TS]

00:33:11   even when they're in their cities [TS]

00:33:12   they're always wearing the color sure of [TS]

00:33:14   their superhero outfit right like it's a [TS]

00:33:16   little key a little cheat sheet for you [TS]

00:33:18   so you get that let's not forget that [TS]

00:33:20   his initials are are you know he's david [TS]

00:33:23   dunn he's a TT he's a superhero doubled [TS]

00:33:25   initial person Tim and also I want to [TS]

00:33:29   draw attention here although it said you [TS]

00:33:32   know sort of throughout the music James [TS]

00:33:36   Newton Howard score for this is [TS]

00:33:38   fantastic i love this score really great [TS]

00:33:40   good for me I mean people people have [TS]

00:33:43   issues of the pacing and I think that's [TS]

00:33:45   perfectly fine but something that that [TS]

00:33:48   at the time I liked was that it wasn't [TS]

00:33:50   trying to tell the pace of somebody [TS]

00:33:52   else's version one of these types of [TS]

00:33:54   stories I really dug hanging out with [TS]

00:33:56   sad Superman long without a bunch of [TS]

00:34:00   special effects or building's exploding [TS]

00:34:02   I'm a fan of movies that are kind of a [TS]

00:34:04   slow burn like this and I think it [TS]

00:34:06   really because it takes to heart that [TS]

00:34:08   idea of like what if there really was a [TS]

00:34:10   superhero in our world how would that go [TS]

00:34:13   and the answer is it would take you a [TS]

00:34:15   long time to be willing to accept that [TS]

00:34:17   you might be a Sierra right like you [TS]

00:34:19   would not believe that you would think [TS]

00:34:21   that dude is crazy and so I you know [TS]

00:34:24   going down that route and not just being [TS]

00:34:25   like having it turn into a superhero [TS]

00:34:28   movie and I feel like there are movies [TS]

00:34:30   the movie that comes to mind which my [TS]

00:34:32   most frustration with this was a [TS]

00:34:34   kick-ass which is a movie that is like [TS]

00:34:36   hey what if you a like what if you were [TS]

00:34:38   superheroes in real life and then it [TS]

00:34:39   just buys into its own hype which I feel [TS]

00:34:42   like this movie never quite does it sort [TS]

00:34:44   of keeps it at a distance because it's [TS]

00:34:47   trying to ground it in our world even if [TS]

00:34:50   parts of it are unbelievable while the [TS]

00:34:52   slow-burn here doesn't work for me so [TS]

00:34:54   much I still applaud it because I [TS]

00:34:56   actually I do like a slow burn it's just [TS]

00:34:58   I tend to be a very character centric [TS]

00:35:01   viewer so if there are characters that [TS]

00:35:04   I'm [TS]

00:35:04   stood in during a slow burn I am on [TS]

00:35:07   board and i love it in this case just [TS]

00:35:09   that the sheer ordinariness of this [TS]

00:35:11   person is integral to the story and [TS]

00:35:13   because he's so ordinary I didn't really [TS]

00:35:15   like him much so so that's that's the [TS]

00:35:18   only reason I wasn't on board so this is [TS]

00:35:20   one of those choices that he made to to [TS]

00:35:22   pace it and color it this way that I [TS]

00:35:24   think is fantastic from a moviemaking [TS]

00:35:26   standpoint I think it makes it a very [TS]

00:35:28   good film it just makes it a film that [TS]

00:35:30   I'm less interested in in watching like [TS]

00:35:33   I I am having more fun talking about it [TS]

00:35:35   with you guys then I was watching this [TS]

00:35:38   part of the film well well this part I [TS]

00:35:39   mean it's not it's it is yeah it's hey I [TS]

00:35:42   only watch I love this movie and I only [TS]

00:35:43   watch it every five years or so it's not [TS]

00:35:45   one of those ones i'll hop on any rainy [TS]

00:35:46   day that that comes along so i wanted to [TS]

00:35:49   mention the next scene and and and this [TS]

00:35:51   is where the story really i mean well [TS]

00:35:52   the plot summary really starts to move [TS]

00:35:54   erica because there's not a lot that [TS]

00:35:56   happens but but if you couple the scene [TS]

00:35:59   where there is the the memorial service [TS]

00:36:01   for the victims of the crash with the [TS]

00:36:03   scene as he's walking out in the [TS]

00:36:04   hospital what I thought about during all [TS]

00:36:07   of that and the memorial seen you know [TS]

00:36:08   it serves a purpose at the end because [TS]

00:36:10   he finds a note stuck under his [TS]

00:36:11   windshield but I I think in terms of [TS]

00:36:15   superhero origins you know how Peter [TS]

00:36:17   Parker didn't save didn't stop the [TS]

00:36:19   robber and he killed his uncle band and [TS]

00:36:21   great power comes great responsibility [TS]

00:36:22   part of what's going on here I feel like [TS]

00:36:26   in these two scenes is a classic [TS]

00:36:28   superhero thing which is why were you [TS]

00:36:30   the only one to survive what's what [TS]

00:36:33   makes you special are you meant to do [TS]

00:36:35   something more do you need to prove that [TS]

00:36:38   it was you know that that you being [TS]

00:36:41   saved was right and that you need to you [TS]

00:36:44   need to be worth worthy of that and then [TS]

00:36:46   it is hammered home again by the fact [TS]

00:36:48   that you know he goes to this I mean he [TS]

00:36:50   goes to this thing and he's the only [TS]

00:36:52   survivor and they're in the memorial [TS]

00:36:54   service for all the people who died and [TS]

00:36:56   then he comes although I did wonder [TS]

00:36:58   where he parked he must park in weird [TS]

00:36:59   locations because there's like the whole [TS]

00:37:02   city is mourning the people with that of [TS]

00:37:04   the train wreck and there's a whole [TS]

00:37:06   memorial service and yet his truck is [TS]

00:37:08   parked in a completely empty parking lot [TS]

00:37:09   so I guess maybe he was avoiding the [TS]

00:37:11   media I don't know okay the memorial [TS]

00:37:13   service is interesting too is it because [TS]

00:37:15   I was paying more attention to it this [TS]

00:37:16   time and pay attention to the [TS]

00:37:18   he what they say about the people who [TS]

00:37:20   died you've got like a leukemia [TS]

00:37:22   researcher a third grade teacher yes [TS]

00:37:25   social worker who are you sir all good [TS]

00:37:28   people right like that's that's [TS]

00:37:30   fascinating to me and right who are you [TS]

00:37:32   why or why did you get saved in all [TS]

00:37:34   these good people notice they don't [TS]

00:37:36   mention like oh the sports agent who is [TS]

00:37:38   kinetic money up the quarterback yeah [TS]

00:37:40   she does not get a mention yeah but it [TS]

00:37:43   sure distances all of them from well [TS]

00:37:46   rent a cop you're not exactly gonna cure [TS]

00:37:48   cancer or yeah yeah seriously so I like [TS]

00:37:50   I like that because it just it feels in [TS]

00:37:53   hindsight especially knowing what this [TS]

00:37:54   movie is actually doing here it feels [TS]

00:37:56   very much like this is one of his [TS]

00:37:59   motivators is Who am I going to be you [TS]

00:38:01   know I survive this and nobody else did [TS]

00:38:03   what what am I going to do to live up to [TS]

00:38:05   that just in the back it doesn't movie [TS]

00:38:07   doesn't say that but that's how that's [TS]

00:38:08   the feeling I get from these two scenes [TS]

00:38:10   he gets though a note under his [TS]

00:38:12   windshield from Elijah price we find out [TS]

00:38:15   that is asking him the question of if [TS]

00:38:19   he's ever been sick in his life and so [TS]

00:38:22   it's like prompting him even more like [TS]

00:38:24   oh is this not were you not just lucky [TS]

00:38:26   maybe this is a bigger issue here two [TS]

00:38:30   things I love about the note are that [TS]

00:38:33   one this is the first like really purple [TS]

00:38:37   thing like what the inside of that in [TS]

00:38:40   mobile vibrant yeah it's like this [TS]

00:38:43   vibrant purple and it's like it stands [TS]

00:38:45   out you know cuz you know Erica like you [TS]

00:38:47   said that the rest of the movie is so [TS]

00:38:49   muted when it comes to colors and it's [TS]

00:38:51   like wow that's that's purple in there [TS]

00:38:53   and then the other thing is that the [TS]

00:38:56   content of the note asks about being [TS]

00:38:59   sick it doesn't ask about being injured [TS]

00:39:01   ask about being sick so it starts to [TS]

00:39:04   hint at the dimension of his powers and [TS]

00:39:08   his abilities and his differences and [TS]

00:39:10   it's like it's not just that he can't [TS]

00:39:12   get hurt it's like there's more to it [TS]

00:39:14   than this and i love that the only thing [TS]

00:39:17   that I don't like about the note is it's [TS]

00:39:19   it's where the movie breaks a little bit [TS]

00:39:21   for me I mean I get that he's an [TS]

00:39:23   ordinary guy but the idea that he didn't [TS]

00:39:25   know if you'd ever been sick that's that [TS]

00:39:28   strains my credulity a little bit i mean [TS]

00:39:31   guess he must have been an only child [TS]

00:39:32   because he didn't have his parrots [TS]

00:39:34   comparing you know his number of sick [TS]

00:39:36   days with with anybody else's but you [TS]

00:39:38   know not knowing if you've ever taken a [TS]

00:39:39   sick day in the however many years he's [TS]

00:39:41   he's worked there and and it in your [TS]

00:39:45   entire life to a little too far I i I'm [TS]

00:39:48   kind of okay with it because i think it [TS]

00:39:50   is that idea of like you don't notice [TS]

00:39:52   these things sometimes if you're not [TS]

00:39:55   really paying attention to it like if I [TS]

00:39:58   you know and I think it really depends [TS]

00:40:00   like there are definitely people I know [TS]

00:40:02   who can give you the chronicle of like [TS]

00:40:04   every time they've been ill over the [TS]

00:40:06   last couple years and then I know people [TS]

00:40:08   and and I fall in this category mostly [TS]

00:40:10   is like yeah I can think of incidence [TS]

00:40:11   where I was legitimately sick but you [TS]

00:40:13   know I don't I certainly don't think [TS]

00:40:15   about all the days when I wasn't sick [TS]

00:40:17   and so I feel like I know a lot of [TS]

00:40:19   people who are the other way around like [TS]

00:40:20   oh I never heard Sam yeah I don't know [TS]

00:40:24   but I it works for me because I feel [TS]

00:40:26   like it is this idea as he starts to [TS]

00:40:28   explore that and he's realizing like [TS]

00:40:30   yeah do I really not like if you're just [TS]

00:40:33   sort of out of it and like kind of [TS]

00:40:35   occupied with other things and we know [TS]

00:40:37   he's had this sort of malaise right like [TS]

00:40:39   almost that's true that him just being [TS]

00:40:41   like they're somewhat depressed if [TS]

00:40:42   anything okay you've made it better yeah [TS]

00:40:45   all right at some point in here we see [TS]

00:40:48   our other flashback with Elijah which is [TS]

00:40:50   when he's a little boy and he's looking [TS]

00:40:53   out the window and his mom basically [TS]

00:40:54   coaxes him outside by saying I put a [TS]

00:40:56   present on the bench across the street [TS]

00:40:58   and it's a comic book and I bought a lot [TS]

00:41:00   of these comic books and every time you [TS]

00:41:01   go outside you can have a comic book so [TS]

00:41:03   we see the route of Elijah's interest in [TS]

00:41:05   comics which is tied with his mother [TS]

00:41:07   trying to get him out of the house cuz [TS]

00:41:09   he just doesn't want to go outside [TS]

00:41:10   because he's afraid of the world because [TS]

00:41:12   he's afraid the world is gonna hurt him [TS]

00:41:13   my suspense please wait wait who puts a [TS]

00:41:16   present on a bench across I can for this [TS]

00:41:19   too they also address it immediately [TS]

00:41:21   which is that she put it there on [TS]

00:41:22   purpose right like you know you and he [TS]

00:41:24   says what it someone's gonna take it and [TS]

00:41:26   she says well you better get out there [TS]

00:41:27   right like so I think she gave somebody [TS]

00:41:29   a heads up out there saying watch this [TS]

00:41:31   make sure nobody takes it until my kid [TS]

00:41:33   comes and gets it it's like it doesn't [TS]

00:41:34   really bother me because she says [TS]

00:41:36   immediately liked you better go get it [TS]

00:41:38   right like it's not just the this is a [TS]

00:41:39   weird scene this is also a movie where a [TS]

00:41:42   guy who looks like Bruce Willis bench [TS]

00:41:43   rs500 nice well my thing about it is [TS]

00:41:47   that she is the mother of a kid who is [TS]

00:41:50   is hurt a lot and and I have friends who [TS]

00:41:54   have who have children who are our [TS]

00:41:56   fragile in some ways and those moms get [TS]

00:41:59   tough so my thought is that when she put [TS]

00:42:00   it out there like she looked at all [TS]

00:42:02   those other kids and like just gave them [TS]

00:42:03   the law yeah and they were like or word [TS]

00:42:05   or gave them a mission of nobody touches [TS]

00:42:08   this do you understand air yeah exactly [TS]

00:42:10   it once again this is an intro with a [TS]

00:42:13   mirror shot right he's looking at the TV [TS]

00:42:14   which is both a call back to the birth [TS]

00:42:17   scene at the very beginning and to Bruce [TS]

00:42:20   Willis's son watching the TV in the [TS]

00:42:23   first shot that we get of him and so [TS]

00:42:25   it's really again once again it's glass [TS]

00:42:28   in the scene with the mom give him the [TS]

00:42:31   comic book she has the line they say [TS]

00:42:34   this one has a soprano yes that is too [TS]

00:42:36   important and it's also a one another [TS]

00:42:38   reversal shot where it the comic book is [TS]

00:42:40   upside down yes and it follows him [TS]

00:42:42   around as he turns it around and then [TS]

00:42:44   continues around until it's red Sun he's [TS]

00:42:46   the villain so it's upside down and [TS]

00:42:48   inverted right like that makes perfect [TS]

00:42:50   sense that I think that shot is a little [TS]

00:42:52   bit too showing a little myself yes yeah [TS]

00:42:55   no I'm a sucker for that because like [TS]

00:42:57   that is a perfect metaphor for the point [TS]

00:42:59   at which his life turns around yeah and [TS]

00:43:01   it's like all right yes I mean that the [TS]

00:43:04   the surprise ending thing is a little on [TS]

00:43:06   the nose when you're watching this and [TS]

00:43:07   have already seen it but layout again [TS]

00:43:09   yeah yeah and there is a surprise to us [TS]

00:43:11   to the end it is the thing that kicks me [TS]

00:43:13   because like I've like how did I watch [TS]

00:43:15   this movie before it's coming well we've [TS]

00:43:18   got a 80 @ mi so then we do see they do [TS]

00:43:21   meet the present day Elijah runs this [TS]

00:43:23   art gallery there's a funny scene where [TS]

00:43:25   a guy is going to buy this fine piece of [TS]

00:43:28   art that's been described by Elijah [TS]

00:43:29   about all the reasons the way that the [TS]

00:43:31   the way the hero is depicted the way the [TS]

00:43:33   villain is depicted and the guy says oh [TS]

00:43:35   my four-year-old kid is going to love it [TS]

00:43:37   he's like nope nope out of the store [TS]

00:43:39   somebody's wasting somebody else's time [TS]

00:43:40   out which is a great scene actually and [TS]

00:43:44   then Bruce Willis arrives so Bruce [TS]

00:43:46   Willis and his son come in and they have [TS]

00:43:48   a conversation with Samuel Jackson where [TS]

00:43:50   he has a long bit of dialogue about the [TS]

00:43:52   history of kind of comic art he is [TS]

00:43:53   explaining what again a little bit on [TS]

00:43:56   the nose he's got hieroglyphics [TS]

00:43:57   behind him as he's explaining that that [TS]

00:43:59   illustrations go back to the days of the [TS]

00:44:01   Egyptian hieroglyphics I'm like okay I [TS]

00:44:03   got it I got it moving well I'm glad [TS]

00:44:05   they didn't have him stroking a cat yeah [TS]

00:44:07   another back chair there is a there at [TS]

00:44:10   and he says you know that people and and [TS]

00:44:12   he begins to get his thesis about how [TS]

00:44:14   like people are extraordinary and maybe [TS]

00:44:16   maybe you were extraordinary and and [TS]

00:44:19   I've been looking for people like you [TS]

00:44:20   and and he gets to do who do his whole [TS]

00:44:23   download and Bruce Willis's responses [TS]

00:44:26   don't don't drink anymore that water son [TS]

00:44:28   you might want to throw that water out [TS]

00:44:30   because he's like oh this is a crazy [TS]

00:44:32   person that's his first take on Elijah [TS]

00:44:35   is this is a crazy person we need to get [TS]

00:44:37   out of here yeah this is the single the [TS]

00:44:40   single clumsiest scene for me in the [TS]

00:44:43   whole movie for two reasons one is like [TS]

00:44:47   the whole like comic book as history of [TS]

00:44:52   people who have powers being marketed [TS]

00:44:56   and stuff like comics aren't that [TS]

00:44:59   ancient you know like like comic books [TS]

00:45:01   are just they're not that old you know [TS]

00:45:04   and they have like well documented [TS]

00:45:05   origins and it's like that's not what [TS]

00:45:08   this is but he has a key is potentially [TS]

00:45:10   crazy person so yep that kind of gets a [TS]

00:45:12   pass but then like the way Bruce Willis [TS]

00:45:16   reacts with the don't drink the water [TS]

00:45:19   and then they get up to leave and he's [TS]

00:45:21   like it's very clear at this point that [TS]

00:45:23   that his character David feels that [TS]

00:45:27   Elijah is a crazy person and then the [TS]

00:45:30   scene ends with Elijah asking what kind [TS]

00:45:33   of work do you do and then David tells [TS]

00:45:36   Elijah that the person he thinks is [TS]

00:45:38   completely crazy oh here's my job at the [TS]

00:45:42   place where I work it's like what are [TS]

00:45:44   you what he's weirdly polite to a lot of [TS]

00:45:47   people yeah I think he realizes whoa [TS]

00:45:50   whoa whoa I went I went way too fast I [TS]

00:45:52   almost tipped my hand a bit too far you [TS]

00:45:56   know I just about scared this guy off [TS]

00:45:57   and he visibly in the next interaction [TS]

00:45:59   that he has with David dials it back a [TS]

00:46:02   bit where he goes a bit more open ended [TS]

00:46:05   with him [TS]

00:46:07   let's let's David do more of the mental [TS]

00:46:10   answering of the questions that he's [TS]

00:46:11   that he's asking then answering his own [TS]

00:46:14   questions as he's asking them which is [TS]

00:46:16   kind of what he does on down-south calm [TS]

00:46:17   down you blew at that time come down I [TS]

00:46:20   mess it up with the sky almost visit up [TS]

00:46:22   with this guy and I don't want him to [TS]

00:46:23   run away so i should mention a couple [TS]

00:46:25   things happen that i skipped over he [TS]

00:46:27   does find out that he's never taken two [TS]

00:46:28   sick Danny gets a raise which i think is [TS]

00:46:29   really nice we also see him at his place [TS]

00:46:31   of work and there is a fantastic shot i [TS]

00:46:33   just want to mention which is he's [TS]

00:46:35   wearing his poncho standing in the [TS]

00:46:36   tunnel watching the football team [TS]

00:46:37   practice and could not look more like [TS]

00:46:40   Batman in that job it is an amazing shot [TS]

00:46:44   he is just like hood in a cape you know [TS]

00:46:46   yo you put that you put the ears on me [TS]

00:46:48   looks like Batman and if you look at him [TS]

00:46:50   face forward and see the green in the [TS]

00:46:52   cloak he looks like the spectre but [TS]

00:46:54   nobody knows the spectre is nobody cares [TS]

00:46:56   that that's true also there are a couple [TS]

00:46:58   scenes including one that happens right [TS]

00:46:59   after the scene of the in the gallery [TS]

00:47:00   where he's at where Bruce Willis is at [TS]

00:47:03   home with Robin Wright who is his [TS]

00:47:07   estranged wife he goes through some old [TS]

00:47:10   clippings including his football career [TS]

00:47:12   and the crash but then we get this is [TS]

00:47:15   where we get the scene where she [TS]

00:47:16   basically which we're still figuring out [TS]

00:47:20   exactly what state their relationship is [TS]

00:47:22   in and this is the scene where she asks [TS]

00:47:23   since we've been separated have you been [TS]

00:47:25   with anybody else and he says no and she [TS]

00:47:27   kind of breaks down at that point so you [TS]

00:47:30   can see now you're getting more of the [TS]

00:47:31   outline here of of the fragile nature of [TS]

00:47:34   this relationship and you know are you [TS]

00:47:37   know they're they're not in the same [TS]

00:47:38   room but they're under the same roof and [TS]

00:47:40   and are that is it over or is it not [TS]

00:47:44   over and they're they're not clear and [TS]

00:47:46   we get another scene of that we a couple [TS]

00:47:48   of scenes where we're slowly putting [TS]

00:47:50   together kind of some we never get all [TS]

00:47:53   but some of the details of their [TS]

00:47:56   estrangement that's an interesting shot [TS]

00:47:58   because Bruce Willis is entirely from [TS]

00:47:59   behind and the entire cameras on Robin [TS]

00:48:02   right for that entire scene which is [TS]

00:48:04   powerful because it's like an [TS]

00:48:06   unflinching Glick gaze right and that's [TS]

00:48:09   it's weird because we don't see him his [TS]

00:48:12   reaction to that and this is all sort of [TS]

00:48:14   ties into his character who is just kind [TS]

00:48:17   of sleepwalking through life right like [TS]

00:48:18   that's the whole thing we're getting [TS]

00:48:19   from him and this fur [TS]

00:48:20   half of the movie is that he is just not [TS]

00:48:22   he is not in it he is not engaged he is [TS]

00:48:25   not awake for whatever reason he is just [TS]

00:48:29   not in this and then the other thing [TS]

00:48:30   that I want to note was like almost a [TS]

00:48:32   very literal Chekhov's gun scene wait [TS]

00:48:35   well gun out of the closet and it's like [TS]

00:48:37   yep my guns still there and do I have [TS]

00:48:39   Chekhov's gun I do all right I do away [TS]

00:48:41   thanks check out I mean I assume it's [TS]

00:48:43   because he's just had this really weird [TS]

00:48:45   interaction with a crazy dude who seems [TS]

00:48:47   to be too into him but it is a little [TS]

00:48:49   it's a little tan odd scene but it is [TS]

00:48:51   clearly there to set up something will [TS]

00:48:53   ya later yeah the other thing about the [TS]

00:48:55   closet seen that struck me as like [TS]

00:48:57   that's another like blatant example of [TS]

00:48:59   comic book framing you know with the top [TS]

00:49:02   down angle like yeah most movies would [TS]

00:49:04   have shot that just through the through [TS]

00:49:06   the open closet door you know as a [TS]

00:49:08   simple side angle but we are above the [TS]

00:49:10   ceiling in that show yeah we are about [TS]

00:49:12   the ceiling he's he's literally boxed in [TS]

00:49:15   by the closet like you can imagine [TS]

00:49:17   reading the comic that's in and the the [TS]

00:49:19   frame is the closet itself and it's just [TS]

00:49:21   like for anyone who reads comics they [TS]

00:49:25   notice that but for anyone else who [TS]

00:49:27   doesn't read comics watching the movie [TS]

00:49:29   it's like oh that's an interesting [TS]

00:49:30   choice of framing it's not it's not like [TS]

00:49:32   just thrown in your face and over the [TS]

00:49:35   top it's just so well done and so like [TS]

00:49:38   interlaced throughout the movie so well [TS]

00:49:41   that's just like oh that's so nice next [TS]

00:49:43   up also we are at the stadium and Elijah [TS]

00:49:46   comes to talk to to talk to David again [TS]

00:49:49   and we get to see David at work and one [TS]

00:49:52   of the things we see here is our first [TS]

00:49:54   hint that perhaps he's not just [TS]

00:49:56   unbreakable but has other abilities [TS]

00:49:59   which I I watching this movie it's one [TS]

00:50:02   of those things like whoa like wait a [TS]

00:50:04   second there's a whole other dimension [TS]

00:50:05   happening here where he gets the sense [TS]

00:50:07   first off it's very it's it's very [TS]

00:50:09   subtly done here where he basically [TS]

00:50:11   shows off that he thinks that that guy [TS]

00:50:13   in the lion might have a gun and so he [TS]

00:50:15   says start the pat downs and they start [TS]

00:50:17   the pat downs and he tells Elijah yeah [TS]

00:50:19   he'll just get out of the line if he's [TS]

00:50:20   got something and he totally does get [TS]

00:50:24   out of the line and so it's like I shot [TS]

00:50:26   that holds on him and you're like is he [TS]

00:50:28   gonna get out of line is he gonna get [TS]

00:50:30   out of line yeah he finally does and [TS]

00:50:32   there's this conversation about like he [TS]

00:50:34   got did [TS]

00:50:34   get an image of of it and it's a silver [TS]

00:50:37   gun with a with a black grip right and [TS]

00:50:40   and and Elijah ends up pursuing him down [TS]

00:50:43   into the subway falling breaking many [TS]

00:50:47   bones but seeing as he's laying upside [TS]

00:50:50   down at the bottom of the steps he sees [TS]

00:50:54   the guy jumped the turnstiles cuz this [TS]

00:50:56   guy also was a fair cheat damn this guy [TS]

00:50:58   he's even uh and sees that he has the [TS]

00:51:00   same gun that David thought he saw [TS]

00:51:02   flashed on basically without actually [TS]

00:51:04   ever seeing which is a confirmation that [TS]

00:51:06   David has even more powers than we [TS]

00:51:09   thought and that's this block in the in [TS]

00:51:11   the in the stadium love the creepy [TS]

00:51:14   Cadillac which like once again is like a [TS]

00:51:17   super villain card all the padding on [TS]

00:51:20   the inside and again I was like how did [TS]

00:51:22   I not notice this the other thing that [TS]

00:51:24   really got me was that the call back in [TS]

00:51:28   a certain way he goes to follow this guy [TS]

00:51:30   across the street and down the subway [TS]

00:51:33   and I thought to myself the present is [TS]

00:51:35   across the street he is like same thing [TS]

00:51:38   with him chasing down this you know like [TS]

00:51:41   whatever this means to him right he has [TS]

00:51:43   to go he has to thwart the stairs and of [TS]

00:51:46   course when he falls to the bottom of [TS]

00:51:47   the stairs and sees the guy jumped the [TS]

00:51:49   turnstile he's upside down yeah each [TS]

00:51:52   time he's chasing the next chapter of [TS]

00:51:54   his life also by the way in our [TS]

00:51:57   continuing story of one of the themes of [TS]

00:51:58   this movie being easy parking uh he's [TS]

00:52:02   next to a stadium in a football game and [TS]

00:52:05   his cars just with handicaps using any [TS]

00:52:07   gifts I suppose that's true I just he [TS]

00:52:09   it's not a problem to park Nick's [TS]

00:52:11   parking next to a football stadium [TS]

00:52:12   during a football game is not easy to do [TS]

00:52:14   but Elijah manages I I wondered the one [TS]

00:52:17   thing they need is seen that strikes me [TS]

00:52:18   as maybe a little over the top is the [TS]

00:52:20   cane shattering oh I love the cane [TS]

00:52:23   chatter it's no wait in which it is an [TS]

00:52:25   awesome image but I also wonder why do [TS]

00:52:27   you have a glass game unless you're a [TS]

00:52:28   supervillain mr. well yeah cuz he's [TS]

00:52:32   named mr. glass and this is a comic book [TS]

00:52:34   movie and Bruce Willis bench presses [TS]

00:52:36   thank you much as you brought me back [TS]

00:52:38   down to reality that's ok thank you i [TS]

00:52:40   needed or whatever this is it only takes [TS]

00:52:42   500 pounds the other thing is when he's [TS]

00:52:45   crossing the street they're like the win [TS]

00:52:48   and like makes that flap of his coat oh [TS]

00:52:50   yeah girls and you see that line again [TS]

00:52:52   that vibrant purple yeah so good next up [TS]

00:52:55   we have the scene where Bruce Willis [TS]

00:52:57   does benchpress 500 pounds and we [TS]

00:52:59   learned yet another dimension of his [TS]

00:53:01   character not only is he not only does [TS]

00:53:04   he have sort of a spidey sense and is [TS]

00:53:06   unbreakable but he is super strong but [TS]

00:53:09   before that scene starts we get a scene [TS]

00:53:10   outside where he sees his son and his [TS]

00:53:12   plate he's playing football which his [TS]

00:53:14   mom is going to be upset about so we're [TS]

00:53:15   laying the groundwork there about the [TS]

00:53:17   fact that that she Robin Wright had a [TS]

00:53:19   problem with football and perhaps that [TS]

00:53:22   went into his car crash there but we do [TS]

00:53:25   see the cornerback who is going to be a [TS]

00:53:28   god down on the field playing with the [TS]

00:53:31   kids which is a callback and it's sort [TS]

00:53:33   of a sad moment of like oh yeah that [TS]

00:53:34   agent who died and and also I love this [TS]

00:53:39   scene because at the very end of it what [TS]

00:53:41   the kid says is all right guys I can't [TS]

00:53:43   play anymore I gotta go work out with my [TS]

00:53:45   dad it's just adorable and then he puts [TS]

00:53:47   his hand on his back as they walk away [TS]

00:53:50   just oh it's uh it's there's something [TS]

00:53:54   about that that is so just hits you [TS]

00:53:55   right in the feels he's just showing off [TS]

00:53:57   that is and loves his dad the thing the [TS]

00:53:59   thing I love about the the bench [TS]

00:54:01   pressing 500 pounds is one of the [TS]

00:54:03   complaints that you could make about [TS]

00:54:05   this movie if it was handled more poorly [TS]

00:54:07   is that how would this guy not know that [TS]

00:54:09   he couldn't lift so much like he that [TS]

00:54:11   he's that strong but it's very clear [TS]

00:54:14   that he has to struggle pretty much just [TS]

00:54:16   the same amount before exactly for a [TS]

00:54:19   reasonable amount of weight and and as [TS]

00:54:22   they keep adding like he doesn't even [TS]

00:54:23   realize that his kid added weight [TS]

00:54:25   instead of took it off so it's it it [TS]

00:54:27   doesn't have that same sort of like you [TS]

00:54:30   know kid discovers he's super strong by [TS]

00:54:33   lifting a car at the age of 2 or [TS]

00:54:35   anything so I appreciated the actually [TS]

00:54:38   the performance from Bruce Willis [TS]

00:54:40   because it really did look like he was [TS]

00:54:41   straining and struggling and the way [TS]

00:54:43   that that was slowly built as Elijah [TS]

00:54:45   says have you did have you two ever [TS]

00:54:47   tried to develop it and the answer is no [TS]

00:54:49   right and this is a good example of that [TS]

00:54:50   is he knows he can lift this it was [TS]

00:54:52   really hard he probably can't lift [TS]

00:54:53   anymore so he'll stop and he never tests [TS]

00:54:56   himself that's his life yeah that was [TS]

00:54:58   self the self imposed limitation of [TS]

00:55:00   I live in the real world in the real [TS]

00:55:02   world you know people with superhuman [TS]

00:55:04   strength don't exist so when you've [TS]

00:55:07   reached the top end of what somebody on [TS]

00:55:09   the football team bench presses well [TS]

00:55:10   guess what you lift the most on the [TS]

00:55:13   football team and nobody else can match [TS]

00:55:14   you so there's nobody else to compete [TS]

00:55:17   with and you stop the shooting of this [TS]

00:55:19   entire scene is fantastic that love the [TS]

00:55:22   kid walking back and forth I love the [TS]

00:55:24   lines you think you could have beaten up [TS]

00:55:26   Bruce Lee like he knew karate like that [TS]

00:55:29   is such a thing like that you know [TS]

00:55:31   you're thinking who doesn't want to [TS]

00:55:33   think their dad can beat up Bruce Lee [TS]

00:55:34   right like and then the scene where he's [TS]

00:55:36   like you know how much did you take off [TS]

00:55:38   and they cut back to them I just love [TS]

00:55:40   his delivery on I'll I'd like it like [TS]

00:55:42   it's just so good and he keeps moving [TS]

00:55:45   the kid keeps moving further back as the [TS]

00:55:48   scene goes and he puts more weight on [TS]

00:55:50   and i love this is the scene that sold [TS]

00:55:52   me on this movie when i was watching it [TS]

00:55:54   for the first time and they sort of you [TS]

00:55:56   know they're sitting there and there's [TS]

00:55:57   this brief pause the kids has let's put [TS]

00:55:59   more on every suppose just thinks about [TS]

00:56:00   it goes okay okay like it was just that [TS]

00:56:03   i just love that because it's the [TS]

00:56:04   starting he's starting to realize [TS]

00:56:06   something is weird right and it's just [TS]

00:56:09   the buy-in is there a and he's letting [TS]

00:56:12   his son into his into his world here he [TS]

00:56:14   trusts his son to like help him figure [TS]

00:56:15   this out which is kind of cool and his [TS]

00:56:17   son was obviously with with them when [TS]

00:56:19   they met with elijah the other thing and [TS]

00:56:21   lauren brought this up she said she [TS]

00:56:23   talked about the framing to and again [TS]

00:56:25   not a subject she spends a lot of time [TS]

00:56:26   talking about when she sees a movie but [TS]

00:56:27   she said very specifically the shot that [TS]

00:56:29   got her was the weight lifting shot [TS]

00:56:32   we're in camera the camera keeps coming [TS]

00:56:35   in and out as they as the weights keep [TS]

00:56:37   going up and down it just it's a shock [TS]

00:56:39   it's really good there's there's some we [TS]

00:56:41   keep talking about Hitchcock there's [TS]

00:56:42   some Spielberg flourishes in here too [TS]

00:56:44   but but but yeah this is I really like [TS]

00:56:47   this scene and how his son is like [TS]

00:56:49   collaborating with him on it you should [TS]

00:56:51   never do anything like this you know [TS]

00:56:53   that i love how the kid keeps standing [TS]

00:56:55   further back he's like staying power [TS]

00:56:57   therefore i'm not quite sure what would [TS]

00:56:58   happen about this is dangerous you [TS]

00:56:59   should stand for the back like like in [TS]

00:57:01   case awaits y or something and then and [TS]

00:57:04   then you cut back to him and he's [TS]

00:57:05   further back he just keeps going back [TS]

00:57:06   air it's amazing but I I like that I [TS]

00:57:10   like that Spielberg in touch and it's [TS]

00:57:12   something that you know again I think [TS]

00:57:13   unfair [TS]

00:57:13   maligned shyamalan his people were like [TS]

00:57:16   oh he's just a crib artist so he just [TS]

00:57:17   cribs from Spielberg oh he just cribs [TS]

00:57:20   from Hitchcock now he cribs from all of [TS]

00:57:22   them and the combination of it is [TS]

00:57:24   entirely centered around his personality [TS]

00:57:26   and it's why you know I feel like this [TS]

00:57:28   movie worked and and is really one of [TS]

00:57:30   his best is is because they're there is [TS]

00:57:34   that kind of authentic feel to the [TS]

00:57:35   relationship between father and son [TS]

00:57:37   which oh yeah you know just getting a [TS]

00:57:39   kid to perform well is one thing but [TS]

00:57:41   building a decent narrative around a kid [TS]

00:57:43   actor and their relationship with [TS]

00:57:45   parents is entirely another and the fact [TS]

00:57:47   that he accomplishes both of those is is [TS]

00:57:49   utterly fantastic I just will always [TS]

00:57:52   remember the paint cans for some reason [TS]

00:57:54   now yeah with me for so long you just [TS]

00:57:57   the those image of the paint cans [TS]

00:57:58   attached to the dumbbells yep just so so [TS]

00:58:02   neatly attached it with duct tape and [TS]

00:58:04   that line too how much how much weight [TS]

00:58:06   did you put on all of it all of it [TS]

00:58:10   Elijah needs physical therapy because he [TS]

00:58:13   fell down all the steps and he goes hut [TS]

00:58:16   2 from right like he's in contrast yeah [TS]

00:58:18   you know David's lifting 350 pounds and [TS]

00:58:20   he's in a hospital and so and then he is [TS]

00:58:22   in physical therapy and he chooses the [TS]

00:58:24   place where Rob and right works because [TS]

00:58:27   he's a crazy stalker and says oh did [TS]

00:58:32   David never tell you about that whoops I [TS]

00:58:34   revealed that I know who your husband is [TS]

00:58:36   so she doesn't walk away at that point [TS]

00:58:39   which is the part that freaks me out a [TS]

00:58:41   little bit like they keep going she's a [TS]

00:58:43   carer yes she is and she's also [TS]

00:58:45   protective of David himself you know not [TS]

00:58:48   not just her wanting to try to find a [TS]

00:58:50   way to make a relationship work but she [TS]

00:58:52   she knows that he is hurt and hurting [TS]

00:58:54   and damaged and you know he can't just [TS]

00:58:57   be taped back together again emotionally [TS]

00:58:59   but I think part of it might honestly [TS]

00:59:02   the character motivation at least be [TS]

00:59:03   that she she wants to get as much [TS]

00:59:07   information out of this guy who I mean [TS]

00:59:08   what's he gonna do jump out of the chair [TS]

00:59:10   and and get her a you know she she [TS]

00:59:14   suddenly goes on an immediate quest of [TS]

00:59:16   weight I'm gonna find out what's going [TS]

00:59:19   on here and then we're going to put you [TS]

00:59:22   in handcuffs and send you away yeah and [TS]

00:59:24   then she realizes oh maybe this is not [TS]

00:59:27   as bad of a thing or a bad thing I know [TS]

00:59:28   well okay we'll figure it out this is [TS]

00:59:32   also the scene where we find out more [TS]

00:59:34   about why she doesn't like football [TS]

00:59:36   where she's yeah um you know she's like [TS]

00:59:39   you know it's the opposite of what I do [TS]

00:59:41   and and isn't that a little on the nose [TS]

00:59:43   because if you look in the newspaper [TS]

00:59:45   clipping about the car accident her [TS]

00:59:48   maiden name is inverse oh yeah is it [TS]

00:59:50   really oh yeah look it up it's there and [TS]

00:59:52   I was like that's easily I'll take it [TS]

00:59:56   I'm okay with it Bruce Willis is bench [TS]

00:59:58   pressing how many pounds boys at [TS]

00:59:58   pressing how many pounds boys at [TS]

01:00:00   500 less than pecans in there what a pay [TS]

01:00:04   cans way but yeah what do paint cans way [TS]

01:00:07   indeed like that the cotton the constant [TS]

01:00:10   reference to inversions and reversals [TS]

01:00:12   and and symmetry and that sort of thing [TS]

01:00:15   like throughout it would it would get to [TS]

01:00:17   a point where it would get to the upper [TS]

01:00:19   level of my tolerance for it but by the [TS]

01:00:20   end of the movie everything balanced out [TS]

01:00:22   and I kind of hate him for that because [TS]

01:00:24   I ended up working out so well that I [TS]

01:00:27   you know I you know I really wanted it [TS]

01:00:29   to bother me enough but but he earned [TS]

01:00:31   enough by the end of the movie that I [TS]

01:00:33   kind of was like all right all right ms [TS]

01:00:36   inverso fine so our next set of scenes [TS]

01:00:40   are involved Joseph the son first off [TS]

01:00:45   getting in a fight at school because [TS]

01:00:51   he's trying to protect somebody because [TS]

01:00:52   he wants to be a hero like his dad and [TS]

01:00:54   and they have a whole conversation about [TS]

01:00:57   it and then yeah it's really sweet and [TS]

01:00:58   so the next thing that happens is he [TS]

01:01:00   gets the gun out and try and threatens [TS]

01:01:02   is dead to shoot him to prove that he's [TS]

01:01:03   uh that it to prove that he's a [TS]

01:01:05   superhero love that scene so much also [TS]

01:01:08   also david david has learned here from [TS]

01:01:11   the lady at the school that he almost [TS]

01:01:13   drowned and so he tells his son you know [TS]

01:01:17   I didn't I'm not invulnerable we got it [TS]

01:01:19   all wrong and the Sun doesn't believe it [TS]

01:01:21   which is why he gets but you absolutely [TS]

01:01:22   love the scene with the the Sun not only [TS]

01:01:26   because I remember it just being like [TS]

01:01:28   that one of those like armchair gripping [TS]

01:01:31   means in the theater because you're like [TS]

01:01:33   oh my god is he gonna shoot him what [TS]

01:01:35   will happen yeah I layup and and because [TS]

01:01:38   it is so well diffused with humor where [TS]

01:01:42   they try all these different things to [TS]

01:01:43   get him to put the gun down including [TS]

01:01:45   like I thought we were becoming friends [TS]

01:01:47   friends don't shoot friends do they [TS]

01:01:49   Audrey no no no she don't know shooting [TS]

01:01:52   shooting friends the wider [TS]

01:01:54   laughing out loud about in the theater [TS]

01:01:56   yeah even as I'm like sort of shaking [TS]

01:01:59   and like to have my hands on the armrest [TS]

01:02:01   it's a hell of a way to play out the you [TS]

01:02:04   know the the archetypical son finding [TS]

01:02:06   out his father is not invincible and [TS]

01:02:08   immortal sort of sort of trap of you [TS]

01:02:11   know coming of age and growing up is is [TS]

01:02:14   you know the Sun the Sun has to learn [TS]

01:02:16   that his father is not immortal and [TS]

01:02:18   invulnerable by effectively threatening [TS]

01:02:20   him with a gun or about to be in big [TS]

01:02:22   trouble that kid is is really smart [TS]

01:02:24   right i mean it is it is perfectly [TS]

01:02:26   logical how do i prove that my dad is [TS]

01:02:28   invulnerable because i believe it the [TS]

01:02:30   answer is I'll just shoot him and it'll [TS]

01:02:32   bounce off but he said and Bruce Willis [TS]

01:02:34   is like keen to bet he's like it okay [TS]

01:02:36   you shoot me bullet bounces off and then [TS]

01:02:39   I'm out of here I'm gonna lie you [TS]

01:02:40   leaving because we don't shoot people in [TS]

01:02:42   this house which is just might not shoot [TS]

01:02:45   friends dads are for hugging not [TS]

01:02:47   shooting no my kids and I my whole [TS]

01:02:49   family watch this movie last night and [TS]

01:02:51   the kids I was worried that the slow [TS]

01:02:54   pace was going to get them although i [TS]

01:02:55   think it was ok they were they were it [TS]

01:02:57   was a little slow but they were a little [TS]

01:02:58   bit intrigued to and uh this scene they [TS]

01:03:02   were on edge and you know and then [TS]

01:03:05   there's the laughter of the release of [TS]

01:03:08   tension with that friends don't you know [TS]

01:03:10   shoot other friends all of that but it [TS]

01:03:13   really it is an incredibly effective [TS]

01:03:15   scene because what's he gonna do like a [TS]

01:03:17   kid wouldn't you know normally this kid [TS]

01:03:19   loves his dad why would he shoot his dad [TS]

01:03:20   is because he thinks his dad is a [TS]

01:03:22   superhero that's why and uh it's great [TS]

01:03:24   it's a great thing and another thing [TS]

01:03:26   that i love is that we we never actually [TS]

01:03:28   get any kind of resolution to this we [TS]

01:03:30   don't know what would happen if he got [TS]

01:03:32   shot and jumping forward just a little [TS]

01:03:33   bit when you get him telling mr. glass [TS]

01:03:37   that this kid threatened to shoot him i [TS]

01:03:39   love how samuel l jackson is so emphatic [TS]

01:03:42   about I didn't say you could be you know [TS]

01:03:44   could be killed like that was like he's [TS]

01:03:46   you can see him it's flashing before his [TS]

01:03:49   eyes oh my god this person who is is [TS]

01:03:52   about to make my life have meaning [TS]

01:03:53   almost perhaps got killed by his own kid [TS]

01:03:56   because i overstepped a little bit it's [TS]

01:03:58   the same thing I almost screw things up [TS]

01:04:00   with this guy again just in a different [TS]

01:04:02   way I should have made him sign a waiver [TS]

01:04:03   just engaged like releasing me from [TS]

01:04:05   liability like I I [TS]

01:04:07   of the the connection between these two [TS]

01:04:09   because you are you're you're just like [TS]

01:04:12   what if he does get shot you know and [TS]

01:04:13   it's like what what happened and then I [TS]

01:04:15   feel like the scene where he's looking [TS]

01:04:17   at the wreckage wraps that up and it's [TS]

01:04:20   like it probably would have bounced off [TS]

01:04:22   because that is just mangled to hell we [TS]

01:04:26   get here there's two scenes where it's a [TS]

01:04:28   bruce willis and Robin Wright they have [TS]

01:04:31   their date she come she comes in earlier [TS]

01:04:34   and and says you know can we could we [TS]

01:04:36   you know i'd like to try again which is [TS]

01:04:38   a big you know big moment in there [TS]

01:04:40   trying to fix their their marriage and [TS]

01:04:42   they have the date here which starts out [TS]

01:04:44   with sort of dating things and then very [TS]

01:04:46   quickly breaks apart into more details [TS]

01:04:49   about their their marriage and and when [TS]

01:04:53   it fell apart i I'm sorry whose favorite [TS]

01:04:55   colors are rust and brown yeah yeah [TS]

01:04:59   favorite color is brown I left it's the [TS]

01:05:01   muted color palette just I go put on a [TS]

01:05:03   plate in front of you I know beautiful [TS]

01:05:06   painting behind them though so honey [TS]

01:05:08   honey what's your favorite color dark [TS]

01:05:09   gritty yeah yeah yeah he should have [TS]

01:05:12   said right I like bright green like my [TS]

01:05:13   poncho that's when I liked Pancho color [TS]

01:05:15   green poncho there is a beautiful a [TS]

01:05:18   beautiful picture behind them on the [TS]

01:05:20   wall and a nice slow zoom yes I did take [TS]

01:05:23   a take note of this particular scene [TS]

01:05:25   simply because I felt like this was the [TS]

01:05:28   first time that I noticed any real color [TS]

01:05:30   that didn't have to do with mr. glass [TS]

01:05:32   right um because it's a their first date [TS]

01:05:34   he's things something is changing in his [TS]

01:05:37   life even though it doesn't necessarily [TS]

01:05:39   go the way he's expecting but we get [TS]

01:05:41   that great mural and they're talking [TS]

01:05:42   about colors just you know yes they're [TS]

01:05:44   they're muted colors we haven't gotten [TS]

01:05:46   that far yet but this for me was kind of [TS]

01:05:48   a turning point in the movie because I [TS]

01:05:49   finally saw something that visually [TS]

01:05:51   stimulated me in a way that the film had [TS]

01:05:53   not too much at this point so they go [TS]

01:05:55   home and uh the babysitter and I want to [TS]

01:05:59   just call out again I love but the [TS]

01:06:00   babysitter has this one scene the [TS]

01:06:02   babysitter could be completely generic [TS]

01:06:03   or not in the movie but instead the [TS]

01:06:05   babysitter is a funny little character [TS]

01:06:08   we thanks thank me thank you telling [TS]

01:06:11   she's actually she's actually my [TS]

01:06:13   favorite character in no lie I swear you [TS]

01:06:16   get so much from her and the best part [TS]

01:06:19   is is that that she goes out in it's [TS]

01:06:20   pouring rain outside when she's like oh [TS]

01:06:22   great yes sir last geez but she she got [TS]

01:06:26   the job in New York so there's suddenly [TS]

01:06:27   extra tension in their relationship [TS]

01:06:29   because what does that mean he thought [TS]

01:06:30   he wouldn't get it but he got it and I [TS]

01:06:32   started to think about like did they [TS]

01:06:33   realize that the guy who was the sole [TS]

01:06:35   survivor of the train crash was the guy [TS]

01:06:36   they interviewed know like hey let's go [TS]

01:06:38   that guy I guys great i security I [TS]

01:06:40   started to wonder about that so and then [TS]

01:06:43   the other call is on the machine and it [TS]

01:06:45   is a and it's elijah right so two things [TS]

01:06:49   that strike me about this one when we [TS]

01:06:51   find out that david has gotten the job [TS]

01:06:53   and they're talking about it Bruce [TS]

01:06:55   Willis is out of focus again and it's as [TS]

01:06:58   if he is once again hit like you know [TS]

01:07:00   Erika just mentioned how he's something [TS]

01:07:02   is changing in his life and it's as if [TS]

01:07:04   that almost slips away for a moment here [TS]

01:07:06   as the possibility of him leaving comes [TS]

01:07:09   up again so he's kind of gone blurry [TS]

01:07:11   again and then a thing that I again I [TS]

01:07:12   watched this scene twice because I want [TS]

01:07:14   to make sure I was hearing it correctly [TS]

01:07:16   do you notice that Elijah's voice on the [TS]

01:07:18   answering machine changes it goes yeah [TS]

01:07:20   yes daddy key and modulated doing a [TS]

01:07:23   voiceover and it does it's yes Lee and [TS]

01:07:25   gradually but it's really well done then [TS]

01:07:28   David goes to the train yard this is the [TS]

01:07:30   this is where that happens which is he [TS]

01:07:33   breaks into where the wrecked cars are [TS]

01:07:35   and looks at the smashed up cars and and [TS]

01:07:38   you just know it's giving him the [TS]

01:07:40   realization that you know something [TS]

01:07:43   there's no way he should have survived [TS]

01:07:44   this thing and he flashes back to the [TS]

01:07:46   car crash and in the car too much little [TS]

01:07:49   too much slow-mo oh the 90s yeah so in [TS]

01:07:52   look in the car crash what we see is [TS]

01:07:54   that he's he has been ejected from the [TS]

01:07:56   car but is fine of course and and she is [TS]

01:08:00   still in the car and so he has to get [TS]

01:08:03   her out so we also see an example that [TS]

01:08:04   not only does he as a teenager he had [TS]

01:08:07   proof that he was unbreakable but he [TS]

01:08:09   rips the door off the car in order to [TS]

01:08:11   get her out so there's his [TS]

01:08:12   super-strength although yeah adrenaline [TS]

01:08:15   makes you do things but you know we know [TS]

01:08:16   now it's his super strength that is [TS]

01:08:18   happening here and then we get that [TS]

01:08:20   moment where the car pulls up and asked [TS]

01:08:22   if he's okay and he's like thinking over [TS]

01:08:24   what he's going to say [TS]

01:08:25   and this is presumably the moment where [TS]

01:08:27   he decides that he's going to feign an [TS]

01:08:30   injury so that he never has to play [TS]

01:08:32   football again and I was thinking about [TS]

01:08:34   this too because you I'm a lot of times [TS]

01:08:36   there are a superhero like characters [TS]

01:08:39   who are teenagers and they usually come [TS]

01:08:41   up with a reason why they can't be [TS]

01:08:43   because like spider-man would be the [TS]

01:08:44   best basketball player or football [TS]

01:08:47   player or whatever at his high school [TS]

01:08:48   team right because he's got powers and [TS]

01:08:50   he doesn't do it what I like about what [TS]

01:08:52   david dunn has in his bat past is he is [TS]

01:08:55   famous for being this amazing football [TS]

01:08:57   player and then the injury is what stops [TS]

01:08:59   him from from you know going on and and [TS]

01:09:01   maybe becoming a professional football [TS]

01:09:03   player or whatever but through the now [TS]

01:09:05   that we know what we know about him it's [TS]

01:09:06   like well that's why he was a great [TS]

01:09:07   football player is that he has he is [TS]

01:09:10   strong and can't be hurt so no wonder he [TS]

01:09:13   is a great football player and maybe he [TS]

01:09:14   also has like you know great agility [TS]

01:09:17   which we never get to see a movie [TS]

01:09:19   because we he hasn't doesn't go that far [TS]

01:09:21   because when Robin Wright is talking to [TS]

01:09:23   him later on saying you know I never [TS]

01:09:25   would have wished for that accident to [TS]

01:09:27   stop you from playing football something [TS]

01:09:29   to the effect of the things you could do [TS]

01:09:30   were like nobody else that makes me [TS]

01:09:32   think that there's more than just super [TS]

01:09:34   strength like the actual abilities [TS]

01:09:36   beyond that and some of it with him [TS]

01:09:38   feigning the injury is also about in [TS]

01:09:40   some ways not quite protecting her but [TS]

01:09:43   it has obviously as we talk about later [TS]

01:09:45   you know when he when Elijah mentions [TS]

01:09:48   that he gave this up for a woman you [TS]

01:09:51   know there is there's love there right [TS]

01:09:52   like there's something he realizes that [TS]

01:09:54   he can't have that and and be with her [TS]

01:09:56   and there is a choice about that even [TS]

01:09:59   though it doesn't go exactly as he's [TS]

01:10:01   planned he talks to Elijah and Elisha [TS]

01:10:04   says go where people are like this is [TS]

01:10:06   where all the way in and so here we go [TS]

01:10:08   we got the big big scene in with the [TS]

01:10:11   pillars in the end there's some fog and [TS]

01:10:14   the lights are coming down and there's a [TS]

01:10:15   big clock and it we're in the train [TS]

01:10:16   station and there's people buzzing [TS]

01:10:19   around everywhere and this is that [TS]

01:10:21   moment where he's going to use his [TS]

01:10:22   powers and this is also the moment where [TS]

01:10:24   the pat color palette is very clear you [TS]

01:10:27   know essentially we're seeing through [TS]

01:10:28   his eyes because the idea here is [TS]

01:10:30   everybody's gray and washed out but the [TS]

01:10:32   people who are special he bumps against [TS]

01:10:35   and gets a flash of some crime they've [TS]

01:10:36   committed they're all wearing distinctly [TS]

01:10:38   bright [TS]

01:10:39   clothing so it's it's an it's a nice you [TS]

01:10:42   know it I wouldn't I wouldn't call it [TS]

01:10:44   subtle but I really like it that that [TS]

01:10:46   the people that he bumps into the lady [TS]

01:10:48   with a red jacket and then we see her in [TS]

01:10:50   a shiny red outfit stealing a was [TS]

01:10:53   healing jewelry and then he bumps into [TS]

01:10:56   the what he bumps into the the Gaius [TS]

01:10:59   assaulting people in battle you have a [TS]

01:11:02   guy wearing bright yellow yeah the [TS]

01:11:04   bright yellow guy who hits hits people [TS]

01:11:06   on the street and says to go back at [TS]

01:11:08   this yeah and then there's the the [TS]

01:11:09   rapist we see and then there's finally [TS]

01:11:12   there's mr. orange janitor who who is is [TS]

01:11:16   our person who were going to be [TS]

01:11:19   following back to his place where he's [TS]

01:11:21   committed all the murders the music in [TS]

01:11:23   this scene is is I mean I got chills [TS]

01:11:25   I'll oh yeah I get chills this whole [TS]

01:11:27   scene is fantastic this is just the this [TS]

01:11:30   is the crème de la creta siz like they [TS]

01:11:32   the apex of this movie right where he's [TS]

01:11:34   like he's bought in now right he is [TS]

01:11:36   believing it and he stretchy he's got [TS]

01:11:39   that nice shot where he he stretches out [TS]

01:11:41   his hands as he's standing there yeah [TS]

01:11:43   and lets the crowd wander over him and [TS]

01:11:45   you're like oh he's in he's totally in [TS]

01:11:47   now and Elijah has warned him that [TS]

01:11:49   things are going to be messy real life [TS]

01:11:51   is messy right which is important for [TS]

01:11:53   later the two things I noted about the [TS]

01:11:55   scene were number one the music which [TS]

01:11:57   you know I'm right there with you with [TS]

01:11:58   the chills the second thing it goes back [TS]

01:12:01   to what we were talking about earlier [TS]

01:12:02   about how this is this is a very [TS]

01:12:04   realistic superhero movie we crimes that [TS]

01:12:08   he sees these people committing these [TS]

01:12:11   are like crimes these aren't like oh [TS]

01:12:13   like we got the black masks and we're [TS]

01:12:15   robbing a bank or you know like the [TS]

01:12:17   typical comic book type crimes these are [TS]

01:12:19   like like rape and assault and like [TS]

01:12:22   major crime crime in the real world it's [TS]

01:12:25   not I 5,000 pounds of whipped cream yeah [TS]

01:12:28   like look it's it's exactly like elisha [TS]

01:12:30   says on the phone like this this is not [TS]

01:12:33   going to be like the comics my says [TS]

01:12:35   david dunn could benchpress that 5,000 [TS]

01:12:37   pounds of whipped cream just do bake two [TS]

01:12:41   big buckets how much does 5,000 pounds [TS]

01:12:44   of whipped cream way 5,000 pounds Dan [TS]

01:12:46   5,000 pounds nothin manly size buckets [TS]

01:12:49   yeah exactly right is tape them on there [TS]

01:12:52   he [TS]

01:12:52   I I have to say the whole thing this [TS]

01:12:56   again I don't really like scary movies [TS]

01:12:58   per se and the home invasion stuff free [TS]

01:13:02   to me it's to hell super scary God these [TS]

01:13:05   movies turns into a horror movie [TS]

01:13:06   veritable times the flash on the guy is [TS]

01:13:08   pre-war right terrifying it's so [TS]

01:13:10   terrifying because again it's like it's [TS]

01:13:13   your home you're supposed to be safe [TS]

01:13:14   there right and this is the whole [TS]

01:13:16   sequence with this as we get there is [TS]

01:13:18   just eerie as hell and terrifying and [TS]

01:13:22   it's so effective is so effective and [TS]

01:13:24   the fact that that as he's seeing all of [TS]

01:13:27   these flashes like somebody said before [TS]

01:13:29   they're getting worse and worse and [TS]

01:13:31   bigger and bigger yeah and the last one [TS]

01:13:33   that we see actually like on the face of [TS]

01:13:35   it what we see not that bad so you know [TS]

01:13:39   that what happened after that had to [TS]

01:13:42   have been so much worse and then as he [TS]

01:13:44   gets there you find that out it's just [TS]

01:13:46   yeah I felt the same way you see it's [TS]

01:13:48   the not showing the explicit thing and [TS]

01:13:49   letting your mind make it a thousand [TS]

01:13:51   times were there is a flash of the [TS]

01:13:53   father dead on the stairs right yeah [TS]

01:13:55   right after that it's but yeah yeah i [TS]

01:13:57   still had like i still had an inkling [TS]

01:13:59   that it was it was going to be even and [TS]

01:14:01   it was and it was yeah you don't get you [TS]

01:14:04   don't see that exact act and so you [TS]

01:14:06   still have that gap in terms of visual [TS]

01:14:09   information they give you so you get to [TS]

01:14:11   build that out for yourself and while [TS]

01:14:14   that's happening you're also getting [TS]

01:14:15   visual information as 20 but there are [TS]

01:14:17   more people and we're going to take you [TS]

01:14:20   on a tour of absolute abject horror [TS]

01:14:23   movie sadness for a minute yeah and then [TS]

01:14:26   we're gonna see what he does [TS]

01:14:27   conveniently he is already wearing [TS]

01:14:29   orange for a prison jumpsuit yes so [TS]

01:14:31   first well as follows him with his hat [TS]

01:14:33   in his poncho green poncho man is on the [TS]

01:14:35   case and we follow him following the man [TS]

01:14:41   so there's a Steadicam shot we go around [TS]

01:14:43   a pillar and he's taken his trash can [TS]

01:14:46   back to the employees only and any walks [TS]

01:14:48   conveniently this is not the beginning [TS]

01:14:50   of his shift and Bruce Willis doesn't [TS]

01:14:51   have to stay on there for eight hours it [TS]

01:14:53   is the end of his shift he's got it puts [TS]

01:14:55   his messenger bag on and then and [TS]

01:14:56   through this driving rainstorm on [TS]

01:14:58   another shot I remembered so well just [TS]

01:15:01   like him walking back and forth behind [TS]

01:15:03   the glass and like again now I haven't [TS]

01:15:05   seen this in 10 years I [TS]

01:15:06   knew exactly how that scene plays out [TS]

01:15:08   and any follow some you know in his [TS]

01:15:09   poncho and that this guy is just walking [TS]

01:15:11   in his in his coveralls through the rain [TS]

01:15:13   Bruce Wallace follows him seize him go [TS]

01:15:15   up to the front door of the house and [TS]

01:15:17   then go around the side and there's this [TS]

01:15:21   is the moment of okay I got to do this [TS]

01:15:23   and Bruce Willis edits in the mail yep [TS]

01:15:25   and Bruce Willis enters the house and [TS]

01:15:26   discovers very you know very quietly he [TS]

01:15:31   finds the the body of the father well [TS]

01:15:33   even even before the body like he opens [TS]

01:15:36   the door and it's immediately like [TS]

01:15:37   there's the pile of mail yeah there's [TS]

01:15:39   this garbage like the mess that there's [TS]

01:15:42   like signs of a struggle it's like like [TS]

01:15:44   the instant he opens the door it's [TS]

01:15:45   confirmed that yep this is exactly what [TS]

01:15:49   it said on the 10 yeah and and there's [TS]

01:15:51   something I think what sets me most on [TS]

01:15:53   edge and makes me the most anxious about [TS]

01:15:55   this entire sequence is there is [TS]

01:15:57   something even though this this house [TS]

01:15:59   has already been invaded there is [TS]

01:16:00   something transgressive about being in [TS]

01:16:03   someone else's house out their [TS]

01:16:04   permission up and it just it makes me [TS]

01:16:07   deeply uncomfortable and anxious because [TS]

01:16:09   the whole feeling is even though it's [TS]

01:16:12   you feel like you're worried about [TS]

01:16:13   getting caught like the whole thing even [TS]

01:16:14   like though the person in this house is [TS]

01:16:16   a bad guy and that's a whole extra level [TS]

01:16:18   of being worried about being caught the [TS]

01:16:20   fact that it said in someone else's [TS]

01:16:21   house just like each of the stakes are [TS]

01:16:23   so up there and it puts me on the edge [TS]

01:16:25   of my seat the whole time so he goes [TS]

01:16:26   upstairs and goes into the bedroom and [TS]

01:16:30   then goes into the bathroom and finds [TS]

01:16:33   the two girls tied up and that door [TS]

01:16:36   swings open and you see again you see [TS]

01:16:38   the silhouette with the hood and the [TS]

01:16:40   poncho hanging down and what strikes me [TS]

01:16:44   about this every time is the silence [TS]

01:16:48   like they don't talk they never say [TS]

01:16:52   anything they don't they don't scream [TS]

01:16:54   they don't cry they say nothing and he [TS]

01:16:57   he you know it's he unties them and we [TS]

01:17:00   see the whole thing it's one continuous [TS]

01:17:01   shot of him untying both of them and [TS]

01:17:04   then he tells them to shush to be quiet [TS]

01:17:08   and that and the thing about untying [TS]

01:17:10   them is like up until this point he's [TS]

01:17:12   very deliberate he's like walking [TS]

01:17:14   through the house slowly he's taking it [TS]

01:17:16   all in but when he sees them tied up and [TS]

01:17:18   he starts to untie them [TS]

01:17:20   it's like it's rushed and it's frantic [TS]

01:17:22   and it's panic yeah and he fumbles with [TS]

01:17:25   that first you know that first not [TS]

01:17:28   forever like he's taking forever ala [TS]

01:17:30   because because he's just like those [TS]

01:17:32   fingers are going left and right and [TS]

01:17:34   he's like like you you can feel the [TS]

01:17:36   panic overflowing in his mind and then [TS]

01:17:39   he starts to slowly take control over it [TS]

01:17:41   like once he gets that first not out [TS]

01:17:43   he's like okay I'm here I'm doing this [TS]

01:17:45   I'm helping these people and then he [TS]

01:17:48   starts to slowly get control of it again [TS]

01:17:50   but just again so much is conveyed [TS]

01:17:53   without a word so much is conveyed just [TS]

01:17:56   by what we see and just so much subtlety [TS]

01:17:59   and it's just it's wonderful yeah the [TS]

01:18:01   the emotional fear that gets transferred [TS]

01:18:03   to us as the audience is just absolutely [TS]

01:18:06   a incalculable it it sets me on edge [TS]

01:18:10   each time I've seen it and we're [TS]

01:18:13   discovering all the stuff along with him [TS]

01:18:15   as he's making his way through the house [TS]

01:18:16   and that sense that there was there was [TS]

01:18:19   just mentioned of being in someone [TS]

01:18:21   else's house and how just objectively [TS]

01:18:23   wrong it feels you know there is there [TS]

01:18:26   is an intrusion happening even if in the [TS]

01:18:29   case of our audience surrogate here [TS]

01:18:31   we're doing it for the right reason and [TS]

01:18:33   to do a good thing but that level of of [TS]

01:18:35   it feeling wrong and then on top of that [TS]

01:18:38   not knowing what's going to be through [TS]

01:18:41   the next doorway or you know whether [TS]

01:18:43   something's going to come through [TS]

01:18:44   another doorway is like having all of [TS]

01:18:46   the most tense parts of a really good [TS]

01:18:49   well made slasher film thrown into one [TS]

01:18:52   climactic sequence of the movie yep so [TS]

01:18:55   he goes to the next room and in this is [TS]

01:18:59   the master bedroom and we see this scene [TS]

01:19:01   through flapping mertens curtains such a [TS]

01:19:05   good shot its back to the back to the [TS]

01:19:08   train seats at the very beginning [TS]

01:19:10   because its frame we see one we see the [TS]

01:19:12   other and I don't know I'm never sure is [TS]

01:19:14   she dead in this scene already yeah [TS]

01:19:17   because he motions at her to be quiet [TS]

01:19:19   but she never moved she never moves i [TS]

01:19:22   agree but it's creepy that he does that [TS]

01:19:24   like you know there's something off [TS]

01:19:26   putting an eerie about that but it's so [TS]

01:19:28   beautifully shot yeah and he goes out [TS]

01:19:30   onto the onto the porch but mr. orange [TS]

01:19:33   jumpsuit [TS]

01:19:34   comes up behind him scare shoves him [TS]

01:19:37   over yeah we see him we cut back and we [TS]

01:19:40   can see him through the translucent [TS]

01:19:41   curtains and he comes back and pushes [TS]

01:19:44   him over dropping him into the center of [TS]

01:19:46   the swimming pool cover oh no water it's [TS]

01:19:50   your kryptonite no and / and mr. green [TS]

01:19:54   poncho man begins to fall sink into the [TS]

01:19:56   it's a call back to Elijah falling down [TS]

01:20:00   the stairs and the shot of him getting [TS]

01:20:03   involved by the tarp is just wonderful [TS]

01:20:06   even without the water factor I i found [TS]

01:20:10   this so the idea of falling onto a tarp [TS]

01:20:14   and then slowly like knowing that you [TS]

01:20:16   are about yet go underwater and [TS]

01:20:18   basically does the edges just keep [TS]

01:20:20   pulling away slowly yeah that was so [TS]

01:20:24   effective the the pool cover strikes me [TS]

01:20:27   on so many levels as such a masterful [TS]

01:20:29   choice because you know like you've got [TS]

01:20:32   this you've got this person who's [TS]

01:20:33   supposedly unearthed you've established [TS]

01:20:35   that their weakness is water something [TS]

01:20:39   that to most people and and certainly [TS]

01:20:42   almost everyone in the audience is just [TS]

01:20:43   like like water is fun water is like [TS]

01:20:46   you'd go swimming in the pool and it's [TS]

01:20:47   great you know like so how do you how do [TS]

01:20:49   you convey to the audience that this [TS]

01:20:52   thing that so many people you know enjoy [TS]

01:20:55   and take for granted and do not see as [TS]

01:20:58   any kind of real threat like how do you [TS]

01:21:00   convey that that sense of dread and [TS]

01:21:03   danger and destruction for this [TS]

01:21:07   character in the movie and the tarp just [TS]

01:21:09   does it so well because like you said [TS]

01:21:12   you know he falls on that tarp and then [TS]

01:21:14   he twists and it wraps around him and [TS]

01:21:16   like it just Rams all of those feelings [TS]

01:21:20   home that that crushing smothering [TS]

01:21:24   feeling like a shroud it's like a shroud [TS]

01:21:26   yeah it's like the shroud of death is [TS]

01:21:29   literally being wrapped around him and [TS]

01:21:31   it's like whoever like I don't know who [TS]

01:21:33   thought of that like the the I'm sure it [TS]

01:21:36   was M night Shyamalan who thought of it [TS]

01:21:37   but like whoever thought of like the [TS]

01:21:39   pool cover and the wrapping around and [TS]

01:21:41   like it's such a fantastic metaphor it's [TS]

01:21:44   such a fantastic visual it [TS]

01:21:46   works on so many levels and it turns [TS]

01:21:48   what could have been such a huge misstep [TS]

01:21:50   for like water waters his his nemesis [TS]

01:21:53   like know it sells it completely and [TS]

01:21:57   it's like you never at one point was I [TS]

01:21:59   like oh it's just water he should be [TS]

01:22:01   fine right no it's like oh my god [TS]

01:22:02   they've earned it yeah he is saved by [TS]

01:22:05   the two girls that he saved earlier they [TS]

01:22:08   pull him they give put stick like a pool [TS]

01:22:10   net or something in there you'd like the [TS]

01:22:12   stick of a of a pool sweep the skimmer [TS]

01:22:14   skimmer exactly and yeah and and and [TS]

01:22:17   that is what gets him out so they save [TS]

01:22:19   him and again silently they say we've [TS]

01:22:21   got to exact inverse here again right [TS]

01:22:23   the reversal he saved them they save him [TS]

01:22:26   he now comes up behind the orange killer [TS]

01:22:30   suit guy right just as that guy came up [TS]

01:22:33   before him and whereas he threw him into [TS]

01:22:35   his secret weakness of water he puts him [TS]

01:22:37   in his secret weakness of a headlock [TS]

01:22:38   that cuts off all the oxygen yep was [TS]

01:22:41   that a secret secret weakness that is [TS]

01:22:44   also my secret weakens don't tell [TS]

01:22:48   everybody yeah yeah I love the scene it [TS]

01:22:50   is Erica will not be surprised cuz she [TS]

01:22:53   knows that I I talked about this a lot I [TS]

01:22:55   like the fact that it's dark and ugly [TS]

01:22:57   and painful because I feel like you know [TS]

01:23:00   what if you're gonna have the climax of [TS]

01:23:02   your movie be that you stop a guy who [TS]

01:23:04   has killed a husband and wife and [TS]

01:23:07   chained and and tied up their daughters [TS]

01:23:10   and is just a monster the way you do [TS]

01:23:14   that is you know you should probably [TS]

01:23:15   depict it as as awful as it is and not [TS]

01:23:18   make it sort of easy and simple and this [TS]

01:23:21   is this movie I am I am nervous the [TS]

01:23:24   whole time he's in that house you're [TS]

01:23:25   absolutely right it feels transgressive [TS]

01:23:27   I'm worried about him when he's on that [TS]

01:23:28   swimming pool cover and and in this [TS]

01:23:32   moment to it's like this is his [TS]

01:23:33   confrontation with the bad guy and it's [TS]

01:23:36   and all he really has is his his [TS]

01:23:38   invulnerability and his perseverance [TS]

01:23:40   because he just has to ride it out as [TS]

01:23:42   that guy is trying to not be stopped and [TS]

01:23:45   and I like it because of that it's not [TS]

01:23:48   easy it's not fun really but it's so [TS]

01:23:51   good that it's like yes this is this is [TS]

01:23:55   what you have to do to solve this [TS]

01:23:57   terrible thing that happened and so we [TS]

01:23:59   go [TS]

01:23:59   through it another call out to the music [TS]

01:24:00   in this scene which is the other [TS]

01:24:02   fantastic musical cue in this entire [TS]

01:24:05   movie as it just comes up and there's [TS]

01:24:07   this beautiful beautiful work by James [TS]

01:24:09   Newton Howard here and the last the [TS]

01:24:11   Lakota here of course is that we didn't [TS]

01:24:13   know for sure about the woman strapped [TS]

01:24:15   to the radiator but he unties her and [TS]

01:24:18   she just flops over and we learned in [TS]

01:24:20   the newspaper clipping next day that she [TS]

01:24:22   is dead and so you know that that's the [TS]

01:24:25   last thing we see of this great victory [TS]

01:24:27   of his does it feel like a victory two [TS]

01:24:29   people died who knows what happened to [TS]

01:24:31   the two girls who were chained up it's [TS]

01:24:33   awful right and so that the last feeling [TS]

01:24:35   we'd get left with is not entirely you [TS]

01:24:38   know there will be some glee in the [TS]

01:24:39   morning that he's the hero but in the [TS]

01:24:42   aftermath of this it's not like they're [TS]

01:24:43   high fives stuff right it's just awful [TS]

01:24:46   it's an awful thing he hangs the poncho [TS]

01:24:48   up at home yeah I love that carries [TS]

01:24:51   Robin right up the stairs in the end he [TS]

01:24:54   lays down next to her and he is he is [TS]

01:24:56   looking for solace he's seen some [TS]

01:24:59   terrible stuff tonight right and he says [TS]

01:25:01   I had a nightmare which is the thing [TS]

01:25:02   that he didn't tell her before that he [TS]

01:25:03   said was the point where he thought that [TS]

01:25:06   they were not going to make it and and [TS]

01:25:08   so he says it here so we could come some [TS]

01:25:09   kind of closure of him needing that [TS]

01:25:11   support and we know what he's what [TS]

01:25:13   nightmare he saw he did have a nightmare [TS]

01:25:15   tonight the nightmare line works on so [TS]

01:25:17   many levels like it could be the [TS]

01:25:19   nightmare of that night it could be the [TS]

01:25:21   nightmare of the problems they've been [TS]

01:25:24   having their marriage it could be the [TS]

01:25:25   nightmare of the train wreck like it [TS]

01:25:28   works on so many levels i'm such a [TS]

01:25:29   sucker for that line yeah it could be [TS]

01:25:31   the nightmare of not of his entire life [TS]

01:25:34   not realizing what he was and what he [TS]

01:25:36   was splitting right on yep yeah the next [TS]

01:25:38   scene is the next morning this scene [TS]

01:25:40   brought to you by tropicana orange juice [TS]

01:25:42   by the way yeah very clear prominently [TS]

01:25:45   displayed my son actually said Tropicana [TS]

01:25:48   I said yep yep yep I love the sea no [TS]

01:25:51   because of the you know we very [TS]

01:25:54   deliberately he's drinking as an [TS]

01:25:56   institution like what is happening here [TS]

01:25:58   and you hear the newspaper being slid [TS]

01:26:00   across the table and you see the edge of [TS]

01:26:02   it and then he says you should look at [TS]

01:26:04   it and he very carefully looks at it [TS]

01:26:06   it's the it's the an artist a police [TS]

01:26:09   sketch of pancho man [TS]

01:26:11   and the hero in quotes rescues to [TS]

01:26:13   children parents found dead in house so [TS]

01:26:15   it's not entirely a win and his son with [TS]

01:26:18   tears in his eyes looks at up up him and [TS]

01:26:20   he just just a little nod the slight nod [TS]

01:26:23   kills me and then it's just you were [TS]

01:26:25   right up the finger silently he says you [TS]

01:26:28   were right and then puts up the finger [TS]

01:26:30   to be like don't know quiet cuz he's now [TS]

01:26:32   got a secret identity now and that's [TS]

01:26:35   like his son is the only one who's in on [TS]

01:26:37   it it's just it's just a great that [TS]

01:26:38   whole thing the word list things with [TS]

01:26:40   the Son and the father and his son is [TS]

01:26:43   crying and the tears are coming down and [TS]

01:26:45   Bruce Willis do you know that credit to [TS]

01:26:47   briar that is amazing piece of work with [TS]

01:26:50   so very little last seen and most [TS]

01:26:54   controversial uh Bruce Willis he talks [TS]

01:26:58   talks we see finally again we see [TS]

01:27:01   Elijah's mom I love the fact that she's [TS]

01:27:03   wearing purple eyeshadow yep and there's [TS]

01:27:06   purple trim on her on her clothing yeah [TS]

01:27:09   it's like it's very clear at that point [TS]

01:27:12   that like regardless of what has [TS]

01:27:14   happened or what will happen like she is [TS]

01:27:17   firmly on his side like she's complicit [TS]

01:27:21   she is part of his super villain team [TS]

01:27:24   and I just love that that like hammered [TS]

01:27:27   home tie in with the with with that [TS]

01:27:29   color choice in the same way that she [TS]

01:27:31   told us that there was a surprise ending [TS]

01:27:33   she now tells us you know this my son [TS]

01:27:36   always told me there are two types of [TS]

01:27:37   villain the soldier yes villain who [TS]

01:27:40   fights with his is you know his muscles [TS]

01:27:43   his muscles and the real threat the [TS]

01:27:45   brilliant and evil archenemy who fights [TS]

01:27:47   him with his brain yep and like there it [TS]

01:27:50   is and if you know again it's laid out [TS]

01:27:51   for you if you're ready for it so last [TS]

01:27:54   seen it continues with in the back they [TS]

01:27:58   Elijah talks to him you know sees the [TS]

01:28:01   newspaper and then says we should shake [TS]

01:28:04   hands which is Elijah saying I know what [TS]

01:28:07   you can do so you're going to touch my [TS]

01:28:09   hand now and you're going to see what I [TS]

01:28:11   did and then we it is revealed in the in [TS]

01:28:13   the flashes that Bruce Willis gets that [TS]

01:28:15   these these horrible things that have [TS]

01:28:19   happened that Elijah has cited [TS]

01:28:21   previously in the movie of [TS]

01:28:23   of terrible things happen looking to see [TS]

01:28:25   if there was one survivor the airplane [TS]

01:28:27   crashed the hotel fire are things that [TS]

01:28:30   and the and the train crash that that [TS]

01:28:32   starts the movie these are these are [TS]

01:28:36   things that Elijah caused to happen in [TS]

01:28:38   his quest to find his counterpart at the [TS]

01:28:41   other end of the bell curve the [TS]

01:28:43   unbreakable person to be his his nemesis [TS]

01:28:46   of the breakable person and that all [TS]

01:28:49   happens in the in handshake he's he's [TS]

01:28:51   he's outing himself to Bruce Willis and [TS]

01:28:54   saying yes now you know we are opposites [TS]

01:28:55   and I am your arch nemesis but to set it [TS]

01:28:59   up as though it's a congratulations are [TS]

01:29:01   in order you've become a hero shake [TS]

01:29:03   hands we've done this together and then [TS]

01:29:06   the rug gets pulled out from under you [TS]

01:29:08   it is uh I just heartbreaking and yet it [TS]

01:29:13   is it is perfect and amazing because of [TS]

01:29:15   course he is he has turned himself into [TS]

01:29:18   a villain just to become the you know [TS]

01:29:21   find the thing that he was looking for [TS]

01:29:22   and find his opposite and and it is [TS]

01:29:25   always perfect is for me it is the [TS]

01:29:27   perfect bow tied on top of this movie I [TS]

01:29:30   love this scene I love this scene so [TS]

01:29:34   much and everything he says about like [TS]

01:29:36   it's usually like these plaintive cries [TS]

01:29:39   as Bruce Willis is walking away coming [TS]

01:29:41   to terms with what he's done and the [TS]

01:29:43   line that always sticks with me is like [TS]

01:29:45   most of the time they're friends like [TS]

01:29:47   you and me your friend and I just oh it [TS]

01:29:49   gets me well it'd be good yeah classy [TS]

01:29:52   like classing it in man with a thousand [TS]

01:29:54   faces here a thousand faces kind of [TS]

01:29:56   terminology I love the notion of [TS]

01:29:58   shifting the conflict from man against [TS]

01:30:00   self to man against man and flipping the [TS]

01:30:03   guide into into the the opposing force [TS]

01:30:06   that that dynamic is something that [TS]

01:30:10   still to me works and people complained [TS]

01:30:11   oh well isn't a coincidental that he's [TS]

01:30:14   the one who caused the train wreck and [TS]

01:30:15   that's the thing well yeah it shows that [TS]

01:30:17   he mass killed a bunch of other people [TS]

01:30:19   doing other stuff that's why that's in [TS]

01:30:21   there that's why it's there he was just [TS]

01:30:23   going to keep playing the odds until he [TS]

01:30:25   came up with somebody who ended up being [TS]

01:30:27   his inverse and he's just so happy about [TS]

01:30:28   this and yes he is criminally insane and [TS]

01:30:31   that is why he would do something like [TS]

01:30:34   that well and I what I like about this [TS]

01:30:35   ending is [TS]

01:30:36   is that Elijah you know I think some [TS]

01:30:39   people don't like this because they view [TS]

01:30:41   it as a first off as a night Shyamalan [TS]

01:30:44   twist where it's like well you know it [TS]

01:30:46   is pretty clear where we're we're we're [TS]

01:30:48   going here the details of him committing [TS]

01:30:50   all these crimes are a little bit [TS]

01:30:53   surprising because you kind of want to [TS]

01:30:54   be on samuel l jackson side but the way [TS]

01:30:56   I read it is he's he's he's a crazy [TS]

01:31:00   person and he's so deep down in this [TS]

01:31:03   mythology that he will do anything [TS]

01:31:05   because he's committed to finding his [TS]

01:31:07   opposite so it's not like the movie [TS]

01:31:09   saying surprise he was a super villain [TS]

01:31:11   all along from another level up if you [TS]

01:31:13   look down at it he has turned himself [TS]

01:31:15   into a monster because he's become so [TS]

01:31:17   obsessed with this idea of the [TS]

01:31:19   diametrically opposed force so I like I [TS]

01:31:22   read it at that level and that's why I'm [TS]

01:31:24   totally okay with it is but like it's [TS]

01:31:26   not just like a comic book thing where [TS]

01:31:28   there's a villain and a and a hero it's [TS]

01:31:31   like Elijah's desperation to find a [TS]

01:31:34   purpose in life and why he is the way he [TS]

01:31:36   is leads him down this sad path and [TS]

01:31:38   commits these horrible crimes because he [TS]

01:31:40   believes the only way he can define [TS]

01:31:42   himself is by finding his opposite [TS]

01:31:43   number and so yeah he is the super [TS]

01:31:46   villain in this story but he's not the [TS]

01:31:48   super villain because of course there's [TS]

01:31:50   a super villain he makes himself the [TS]

01:31:52   super villain and he is kind of the hero [TS]

01:31:54   of his own story in a villainous way but [TS]

01:31:56   it's also not a surprise because as [TS]

01:31:58   we've talked about since most of us [TS]

01:32:00   watch this before it's earned all the [TS]

01:32:03   stuff that they talked about with when [TS]

01:32:04   you're watching it a second time and you [TS]

01:32:06   know what's happening at the end it's [TS]

01:32:09   not it's not subtle right like there's a [TS]

01:32:12   lot there's nothing in there that makes [TS]

01:32:13   you go like oh this comes out of left [TS]

01:32:15   field no it is earned it is laid out it [TS]

01:32:19   makes sense and even if it feels like [TS]

01:32:21   the rug has been pulled under it for out [TS]

01:32:23   from under you I think that's okay [TS]

01:32:25   because you're supposed to feel kind of [TS]

01:32:26   betrayed here at the end you're supposed [TS]

01:32:28   to feel upset that this person you've [TS]

01:32:30   kind of rooted for is villainous because [TS]

01:32:32   that is how Bruce Willis's character is [TS]

01:32:34   feeling but it works because it's earned [TS]

01:32:37   and it's set up and all of that stuff is [TS]

01:32:40   is laid out for you to get you to this [TS]

01:32:42   point yeah and and the motivations are [TS]

01:32:44   solid you know like if you think about [TS]

01:32:47   what Elijah's been thrown his life and [TS]

01:32:49   his [TS]

01:32:50   quest and his desire to fit in to know [TS]

01:32:54   what his places like it all like you can [TS]

01:32:56   you can see why he did what he did and [TS]

01:32:59   you can it's totally believable as [TS]

01:33:01   motivation and again it goes back to the [TS]

01:33:04   realism it goes back to the it's it's so [TS]

01:33:07   close you can reach out and touch it [TS]

01:33:08   because you can see someone going down [TS]

01:33:10   that path also the performance of samuel [TS]

01:33:14   l jackson performance really fits in [TS]

01:33:16   with that reading of it because from the [TS]

01:33:19   beginning from the first time that we [TS]

01:33:20   you know we see him as an adult he's [TS]

01:33:23   kind of he's kind of a petulant a [TS]

01:33:27   petulant child in a way you know just [TS]

01:33:30   the way that he deals with the the guy [TS]

01:33:32   who's turned it by the art and then he [TS]

01:33:34   really comes off as it's just this sort [TS]

01:33:36   of hopeful lost puppy kind of guy he is [TS]

01:33:39   he is so grasping towards this I they [TS]

01:33:42   had this idea that Bruce Willis could [TS]

01:33:45   could possibly be this kind of person [TS]

01:33:46   that as we said before he almost screws [TS]

01:33:48   it up because he's too eager like on a [TS]

01:33:50   first date and and all the way through [TS]

01:33:52   he has that sort of just it's not [TS]

01:33:55   overplayed so that it's obnoxious or [TS]

01:33:57   annoying but it is there in his [TS]

01:33:59   performance so at the end when we get [TS]

01:34:01   that really plaintiff and their friends [TS]

01:34:03   just like we are it is it's a perfect [TS]

01:34:05   culmination to the entire performance [TS]

01:34:07   that he's put together throughout this [TS]

01:34:08   whole film yep he's so happy at the end [TS]

01:34:10   yes like this is the end of his journey [TS]

01:34:12   as he is find he is found meaning and we [TS]

01:34:14   we see that big smile and it freeze [TS]

01:34:17   frames and we get the text Elijah prices [TS]

01:34:19   now in an institution for the criminally [TS]

01:34:21   insane yeah horses yet where are you [TS]

01:34:23   sensing that's where you said [TS]

01:34:25   supervillains but I love that moment of [TS]

01:34:26   like the juxtaposition there like he is [TS]

01:34:28   finally happy because I mean and this is [TS]

01:34:31   the we mentioned this earlier like the [TS]

01:34:33   whole question of like Bruce Willis and [TS]

01:34:34   feeling like waking up sad and feeling [TS]

01:34:36   like his life is wrong and there's [TS]

01:34:38   something wrong with it and he's found a [TS]

01:34:40   place and a role this same day he has [TS]

01:34:43   found that and Elijah's found his place [TS]

01:34:46   too so he has taken that journey but in [TS]

01:34:49   the end he's a crazy person who killed a [TS]

01:34:51   lot of people and got convicted of three [TS]

01:34:54   acts of terrorism and is in the [TS]

01:34:55   institution for the criminally insane [TS]

01:34:57   now but at the fact is he's smart [TS]

01:34:59   there's a smile on his face at the end [TS]

01:35:00   of the movie so for years now [TS]

01:35:03   m night shyamalan his talking about is [TS]

01:35:05   unbreakable you know it was not the big [TS]

01:35:07   hit that the Sixth Sense was and then [TS]

01:35:09   like signs was a big hit so I think it [TS]

01:35:12   was generally thought like well that one [TS]

01:35:14   was kind of a misfire I would like to [TS]

01:35:15   believe that over the years it has [TS]

01:35:17   become more appreciated especially you [TS]

01:35:22   know as just as time has gone by and [TS]

01:35:23   maybe it's become kind of a cult classic [TS]

01:35:25   but shaolin's always kept thinking of it [TS]

01:35:28   and has threatened from time to time and [TS]

01:35:30   there's always the stories about where [TS]

01:35:32   Bruce Willis's yeah I talked to him [TS]

01:35:33   about it every few years and we maybe [TS]

01:35:35   we'll do it some day and and that's all [TS]

01:35:37   there may be some news on that but we're [TS]

01:35:39   gonna say that for the very end before [TS]

01:35:40   we do that I wanted to go around one [TS]

01:35:42   last time and ask for overall final [TS]

01:35:44   impressions of unbreakable how how did [TS]

01:35:49   it how did it hold up and did you like [TS]

01:35:52   it did you love it Erica you use can you [TS]

01:35:55   summarize sort of where you fall on this [TS]

01:35:57   I have really mixed feelings about it [TS]

01:35:59   because when I think about the idea of [TS]

01:36:01   this film when I think about the [TS]

01:36:02   direction of it the performance is all [TS]

01:36:04   of the pieces are things that I really [TS]

01:36:07   like and I've enjoyed talking about it [TS]

01:36:09   and breaking it down and I do think that [TS]

01:36:11   this is a really good movie I just [TS]

01:36:14   wasn't as entertained by it as I wanted [TS]

01:36:17   to be so I think I think this is for me [TS]

01:36:20   as a movie that is better sort of [TS]

01:36:22   remembered that i can remember the good [TS]

01:36:25   parts but but the actual sitting through [TS]

01:36:27   it was not a particularly entertaining [TS]

01:36:29   or pleasurable experience i mean at the [TS]

01:36:31   end my very last note is it's fine like [TS]

01:36:34   that's exactly what i wrote when i [TS]

01:36:36   finished when i finished watching it but [TS]

01:36:38   then talking about it here i can i can [TS]

01:36:39   point to all of these things that I [TS]

01:36:41   thought were really well done so I think [TS]

01:36:44   I just won't watch it again if I'm if I [TS]

01:36:45   if I feel like I need to re-experience [TS]

01:36:47   this movie I'm just going to come back [TS]

01:36:48   and listen to this podcast haha fair [TS]

01:36:51   enough Moises in a world where we've got [TS]

01:36:54   so much superhero content out there from [TS]

01:36:56   TV to the movies and I consume so so [TS]

01:36:59   much of that stuff re watching this [TS]

01:37:01   movie 17 years later is this massive [TS]

01:37:03   massive breath of fresh air as if i have [TS]

01:37:08   not had this kind of fresh air in 17 [TS]

01:37:10   years this movie you've got him ripping [TS]

01:37:12   the door off of a car in a practical [TS]

01:37:14   effect that has weight [TS]

01:37:16   feeling to it and doesn't doesn't feel [TS]

01:37:18   silly yes it's bruce willis can [TS]

01:37:21   benchpress 500 pounds and that's the [TS]

01:37:23   last time I'm using the joke it has that [TS]

01:37:25   level of a suspension of disbelief to it [TS]

01:37:29   but it works and we've seen so many [TS]

01:37:32   attempts to do grounded gritty [TS]

01:37:34   street-level superheroes but honestly 17 [TS]

01:37:38   years ago it was m9 Shyamalan doing [TS]

01:37:41   white Luke Cage and managing to pull it [TS]

01:37:46   off I think it's not necessarily going [TS]

01:37:48   to be the thing that people even people [TS]

01:37:50   who love the movie like Jason are going [TS]

01:37:52   to come back to it more than once every [TS]

01:37:54   five years but it it definitely deserves [TS]

01:37:57   critical reappraisal and popular [TS]

01:37:59   reappraisal i love this universe I love [TS]

01:38:02   this world you know I I think that um [TS]

01:38:05   you know without saying anything about [TS]

01:38:07   about the movie itself if people go back [TS]

01:38:11   and like this movie his new movie split [TS]

01:38:15   is very very good and if you have found [TS]

01:38:18   yourself disenchanted with a bunch of [TS]

01:38:19   his stuff of late I would urge you to [TS]

01:38:21   urge you to go watch split and not talk [TS]

01:38:24   to anybody about it in advance just know [TS]

01:38:27   the James McAvoy is in it and it's very [TS]

01:38:28   well done Justin final thoughts about [TS]

01:38:31   unbreakable I adore this movie uh you [TS]

01:38:35   know leg moyes has said it's a breath of [TS]

01:38:36   fresh air compared to what else is out [TS]

01:38:39   there right now as far as comic books [TS]

01:38:40   comic book movies comic book TV shows [TS]

01:38:43   the pacing the deliberateness like and [TS]

01:38:47   it's just it's such a masterful piece of [TS]

01:38:49   work from a technical standpoint from [TS]

01:38:52   the cinematography to the fraying to the [TS]

01:38:54   music to to the audio to the character [TS]

01:38:58   development you know like like there are [TS]

01:39:00   so many scenes in this movie that should [TS]

01:39:03   be required viewing for people who are [TS]

01:39:05   writing characters or people who are [TS]

01:39:07   making films you know like the secretary [TS]

01:39:10   and the babysitter like you you want to [TS]

01:39:12   talk about character development just [TS]

01:39:14   watch those two scenes like you don't [TS]

01:39:15   even need the context of the movie just [TS]

01:39:17   those scenes in isolation are so [TS]

01:39:19   powerful and so well done and and the [TS]

01:39:24   shot you know him in the hospital like I [TS]

01:39:26   could go on we just talked about it all [TS]

01:39:28   but it's wonderful and [TS]

01:39:29   you know it's by no means flawless like [TS]

01:39:31   there are parts of it that you know [TS]

01:39:33   could be done better or you know could [TS]

01:39:35   be edited a little bit you know [TS]

01:39:37   differently but overall it's such a [TS]

01:39:39   wonderful wonderful piece of work that [TS]

01:39:43   it just makes me long for more variety [TS]

01:39:47   and more deliberateness and more you [TS]

01:39:51   know very pacing in what we have to [TS]

01:39:54   choose from today that it actually [TS]

01:39:56   watching it you know kind of makes me [TS]

01:39:58   sad that we don't have more variety as [TS]

01:40:01   far as you know everything that the film [TS]

01:40:04   has to offer is just like there's [TS]

01:40:05   nothing else out there like I haven't [TS]

01:40:07   seen split yet but you know I'm gonna go [TS]

01:40:10   watch that and I hope that you know it's [TS]

01:40:12   a little it's another breath of fresh [TS]

01:40:14   air or 17 years later Dan maybe I'm on [TS]

01:40:17   the exact opposite end of the spectrum [TS]

01:40:19   from Erica you're exactly the same [TS]

01:40:25   except on the other end expect but I [TS]

01:40:27   there is something deep and visceral in [TS]

01:40:30   me that I love about this movie and it [TS]

01:40:32   just the fact that it can evoke feelings [TS]

01:40:36   in me that are are you know unconscious [TS]

01:40:40   reactions like the goosebumps I think we [TS]

01:40:42   all talked about in that scene in the [TS]

01:40:44   train station like that's not easy that [TS]

01:40:47   is not a thing that most movies can pull [TS]

01:40:49   off it is exceptionally hard and it's [TS]

01:40:52   something that even you know good [TS]

01:40:54   filmmakers who make otherwise technical [TS]

01:40:56   solid films sometimes it just doesn't [TS]

01:40:58   hit you that way and it doesn't hit that [TS]

01:41:00   way for everybody as we've seen but for [TS]

01:41:02   me for whatever reason this movie just [TS]

01:41:04   hits me right in the sweet spot and I [TS]

01:41:06   and you know again I don't like you [TS]

01:41:08   Jason I I have I don't watch it [TS]

01:41:10   regularly I hadn't seen it a long time [TS]

01:41:12   you know I I love this movie and it is [TS]

01:41:16   just so well done and I think so much of [TS]

01:41:19   that I guess I can lay at the feet of [TS]

01:41:20   going in totally unknowing of what I was [TS]

01:41:23   in for and and it is is increasingly [TS]

01:41:27   hard to do that and I love a lot of the [TS]

01:41:29   movies that we get today and I watched [TS]

01:41:31   so many of the superhero movies that we [TS]

01:41:32   get today and I enjoy many of them you [TS]

01:41:36   know and this movie is not flawless as [TS]

01:41:38   Justin said there there are definitely [TS]

01:41:40   some spots that the needle tweaking [TS]

01:41:42   there are things that are a little bit [TS]

01:41:43   awkward [TS]

01:41:43   but overall it is something that is so [TS]

01:41:46   well done and so totally consistent [TS]

01:41:48   throughout that you forgive it you [TS]

01:41:51   forgive it its flaws it's so hard to [TS]

01:41:53   pull that off it is so very hard to pull [TS]

01:41:55   that off and and everything you know [TS]

01:41:58   like Justin said from the music to every [TS]

01:42:00   you know the technical aspects are well [TS]

01:42:02   done you know I think Moyes had some [TS]

01:42:04   great points about how this was a brush [TS]

01:42:06   of breath of fresh air in terms of so [TS]

01:42:08   much of what we had seen then and what [TS]

01:42:09   we're seeing now but I guess it just [TS]

01:42:11   comes down to me for me being something [TS]

01:42:13   that I totally buy into I'm in this [TS]

01:42:15   moment of the movie from almost from the [TS]

01:42:18   get-go and and that is just is so hard [TS]

01:42:21   to accomplish it's a rare thing and I [TS]

01:42:23   agree that this deserves another look [TS]

01:42:26   for people who are not didn't see it [TS]

01:42:28   when it came out or don't really know [TS]

01:42:30   much about it beyond m night shyamalan [TS]

01:42:32   but is the movie that convinced me that [TS]

01:42:33   he is a he is a very talented director [TS]

01:42:36   even if he is not always making movies [TS]

01:42:38   that that work for all these reasons [TS]

01:42:40   this this shows the heights of what he [TS]

01:42:42   could accomplish and you know any [TS]

01:42:44   director should feel lucky if they [TS]

01:42:45   manage to pull this off once or twice in [TS]

01:42:47   their career much less anything more [TS]

01:42:50   than that all right well I love it too I [TS]

01:42:52   have loved it since the first time I saw [TS]

01:42:54   it and again every every few years I [TS]

01:42:57   will watch it again and I'm reminded of [TS]

01:42:59   all the reasons that I love it and [TS]

01:43:00   thinking about it in terms of today's [TS]

01:43:02   modern superhero movies which I would [TS]

01:43:04   say you know it's I I think that that [TS]

01:43:07   gap between as moist as pointed out [TS]

01:43:09   diamond and Robin and the Sam Raimi's [TS]

01:43:11   spider-man you could really see that as [TS]

01:43:13   the gap between not really knowing what [TS]

01:43:15   the hell to do with superhero movies and [TS]

01:43:16   figuring it out again and I like a lot [TS]

01:43:20   of those superhero movies today but they [TS]

01:43:22   are all summer action tentpole movies [TS]

01:43:24   with big special effects and explosions [TS]

01:43:27   and things and although those are fun [TS]

01:43:29   one of the things I like about [TS]

01:43:30   unbreakable is that it's deal it's it's [TS]

01:43:33   dealing in the same ideas but from a [TS]

01:43:35   very different place and without as much [TS]

01:43:38   as fun as those explosions and people [TS]

01:43:39   flying around our it's also fun to see [TS]

01:43:42   it so grounded as it is here and and so [TS]

01:43:45   you know for for many reasons it's worth [TS]

01:43:47   if you haven't if you listen to this you [TS]

01:43:49   haven't seen in a long time you should [TS]

01:43:51   go back and watch it because I think it [TS]

01:43:52   is a little hidden classic that that [TS]

01:43:57   got lost because it was not the success [TS]

01:43:59   that the big twist ending six cents [TS]

01:44:03   movie was which was a phenomenon and [TS]

01:44:05   this was not all right well that's we're [TS]

01:44:07   gonna wrap it up here thank you to my [TS]

01:44:09   panel dan moore and Erica ensign justin [TS]

01:44:11   michael voices chui yan thank you to you [TS]

01:44:14   the listener for listening to this [TS]

01:44:15   episode it was fun I've been meaning to [TS]

01:44:17   do this since we started the podcast [TS]

01:44:19   quite frankly and we finally got to it [TS]

01:44:20   it only took three hundred and forty [TS]

01:44:21   some episodes but we did it and we'll be [TS]

01:44:24   back next week with another one about [TS]

01:44:25   some other topic who knows what until [TS]

01:44:27   then thank you and goodbye [TS]

01:44:29   [Music] [TS]

01:44:51   one last note and I'm going to blow off [TS]

01:44:54   the little minor spoiler horn here for [TS]

01:44:58   something that is a tag at the end of [TS]

01:45:00   the new movie split if you would if you [TS]

01:45:03   want to go in completely blank as moist [TS]

01:45:05   as I believe recommends you do yes I [TS]

01:45:08   promise you you'll be so much happier [TS]

01:45:10   don't listen to this last part but we [TS]

01:45:12   will just say this which is split it [TS]

01:45:14   turns out is related to unbreakable and [TS]

01:45:17   has a cameo at the very very end by a [TS]

01:45:22   character from unbreakable and split [TS]

01:45:26   which has gotten good reviews and good [TS]

01:45:28   box office that success suggests that [TS]

01:45:31   maybe the time is ripe for M night [TS]

01:45:35   Shyamalan to make that proper follow-up [TS]

01:45:38   of unbreakable at last he has said that [TS]

01:45:43   the the fact that split an unbreakable [TS]

01:45:45   being with two different Studios is not [TS]

01:45:48   an impediment to going forward with a [TS]

01:45:50   full proper sequel to unbreak I believe [TS]

01:45:53   he says he's writing something now so [TS]

01:45:55   that's cool yeah that's good good I'm [TS]

01:45:57   angry cuz I don't want to watch split [TS]

01:45:59   but now i got i saw this and have got to [TS]

01:46:02   I've seen this a few weeks ago I saw [TS]

01:46:04   this story and I was like well what do [TS]

01:46:06   they tell you I it was in a headline on [TS]

01:46:08   some site and it was kind of a guy was [TS]

01:46:10   like all right well check this out now [TS]

01:46:11   is there reading it was like wait what [TS]

01:46:13   what yeah what is happening right now I [TS]

01:46:15   I don't even want I don't even want to [TS]

01:46:17   spoil you dant like even though you know [TS]

01:46:19   the main spoiler itself I don't want to [TS]

01:46:22   spoil you on on how that is introduced [TS]

01:46:25   because it's a particular aspect of [TS]

01:46:26   unbreakable that I know you in [TS]

01:46:28   particular love da Polly and and we'll [TS]

01:46:31   even though you know the spoiler you [TS]

01:46:33   will go in there you will watch split [TS]

01:46:34   and this thing will happen and Dan morn [TS]

01:46:37   will be sitting in a movie theater [TS]

01:46:38   laughing cackling with delight so now so [TS]

01:46:42   we'll just we'll just leave it at that [TS]

01:46:43   we could go into more detail I don't [TS]

01:46:44   think it's worth it just to say that [TS]

01:46:46   there is a there is a reference that is [TS]

01:46:48   made in some fashion and you see [TS]

01:46:49   somebody who you might find familiar and [TS]

01:46:52   that's the realization she's alicious [TS]

01:46:54   tell them it's it's the secretary from [TS]

01:46:56   school yeah [TS]

01:46:57   babysitter the baby's all grown up [TS]

01:47:00   babysitter all grown up everybody's the [TS]

01:47:03   other Bader yeah she'sshe's come back uh [TS]

01:47:06   you know she was off earth fighting the [TS]

01:47:08   aliens from signs yeah that's right but [TS]

01:47:10   not as whoa what yeah [TS]