Sam has spent years trying to get Nathan to watch Gremlins 2: The New Batch. At last, Nathan gives in, and filmmaker and actor Diana Porter joins them to sort through the chaos at Clamp Tower.

Is Joe Dante’s 1990 sequel a gleeful act of creative rebellion, or does it throw away so many rules that there’s nothing left to hold onto? Nathan, Sam, and Diana get into the Looney Tunes nature of this film, Daniel Clamp, the parade of new Gremlins, and the movie’s habit of turning everything, including itself, into a joke.

Diana also talks about her path from acting to directing, her collaborations with Michael Wisler, and their short films Subscribed, The Rewind, and Proxy. To close out the episode, all three reveal their Top 5 Movie Monsters, with picks ranging from childhood nightmares to creatures that still make them afraid to go in the water.

Find Diana’s work at elazonfilms.com

Chapters:

• 01:06 - Show Intro — Welcoming Diana Porter
• 21:34 - Late Summer Movie Catch-Up
• 35:17 - Main Review — Gremlins 2: The New Batch
• 01:06:39 - Final Thoughts and Vault Decision
• 01:17:01 - Top 5 Movie Monsters

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Copyright © Back to the Frame Rate

In the dying embers of human existence.

As the asteroid, a behemoth the size of Texas, hurdles relentlessly toward Earth, the world braces for an apocalyptic end.

Deep beneath the bunker, a refuge plunges into the bowels of the earth.

Here the chosen gather, their purpose clear to preserve the very soul of our civilization.

The 35 and 70 millimeter prints that encapsulate the magic, the emotion and the dreams of generations past.

These masterpieces, each frame a testament to the human spirit, are carefully cataloged and cradled in the cavernous confines of the bunker.

Perhaps there was room for more, for friends and family yearning for salvation.

But sacrifices must be made.

The movie nerds stand united, the keepers of a flame, promising a future where the art of storytelling endures, transcending the boundaries of time and space.

God help us all.

Welcome to Back to the Frame Rate, a proud production of the Western Media Podcast Network.

In this cinematic crusade, we journey through films on VOD and streaming platforms, deciding their fate, salvation in our vault of legends, or eternal banishment to the flames of the coming asteroid apocalypse.

You can find all of our episodes of our show on Apple Podcasts, Spotify or your favorite podcast app.

Or find us on our social media channels.

Back to the Frame Rate.

I am Nathan Shure and joining me from the top floor of Clamp Tower, where he's Currently green lighting Gremlin 7 Gizmo goes to Cabo Sam Cole.

Greetings Nathan.

It is such a pleasure to be here.

I would even go as far as to say that it fills my soul with mirth.

Cheers.

Good to have you again.

And also on the show this week we have a guest.

She is an award winning filmmaker and actor.

Her films have been screened at some very prestigious festivals including the Rhode Island International Film Festival, Boston Underground Genre Blast and Sci Fi London.

She is known for creating evocative sci fi thrillers with her creative partner Michael Whistler and and is currently in development on their feature film Code Demon.

But I simply know her as one of the best and most skilled New England filmmakers we have and someone I've known for probably a good 13 years or more.

I think we go back to the first Obama administration possibly.

But we welcome Diana Porter to the show.

Thank you so much.

I also during.

During the show intro, I was thinking I also co authored a comic book about getting through or not getting through the apocalypse with a toddler.

Oh wow.

It's an anthology of five different stories.

Each one a different, I wish end of the world scenario.

You.

You still can.

Yeah, come in handy.

I had like A two and a half year old during that.

So.

But this is good.

You already bring experience to the bunker because you have knowledge.

We actually in the past had co hosts, but the apocalypse got them.

They wandered out to the land and we don't know where they went and, but see, you, you know, so, like, you may survive.

I have studied up.

I am the person you want in your survival group.

I'll.

I'll say that much.

100%.

Fantastic.

Well, you're always welcome to join us in the bunker, Diana.

And you know what?

It's.

I am ashamed to admit this, Sam.

After so many years, we have had co, you know, co hosts that have been women on the show.

You are our first female guest though, on the show.

It's.

That's true.

That is true.

Oh, my God.

You gotta work on that.

This has been a sausage factory for so long and.

All right, I'm gonna be on the, on the, with the PR department guys.

I got some names for you.

I got some good guests that you can line up.

Yeah, yeah.

So Diana, I know we, we introduced you a little bit on, on what your background is.

Is there any.

First of all, can you just tell us a tad more about your life as a.

Doing a filmmaker for a moment or two and how long you've been doing this, why you got into this crazy industry?

Yeah, well, a few years after I had, when I had my son, I left the office workforce and thought I was just going to be a stay at home mom.

And very quickly figured out that job is not for me.

I love being a mother.

I absolutely adore being a mother.

I love my son so much.

But it, it is being a stay at home, 100% full time parent is its own job.

And it was not the job for me.

I get so defensive about that.

But I had a, an epiphany that of all the things that I gave up, the thing that I missed the most was acting.

I'd always done it as a hobby.

And I said to my husband, well, you know, we saved up and we planned for me to not have an income.

How about I have a job and still no income.

I'll an actor.

But fortunately, within a few months, I had already landed my first large role.

It was an ensemble cast in a feature film.

It just kind of took off from there.

I started doing commercials.

The, the pandemic changed a lot.

And she kn.

I had acted, of course, but also written and produced.

And she said, you need to direct.

So I want you to be in this anthology be.

And you'll be the first time director.

Everybody else is seasoned.

And I was like, oh, okay.

And I did.

I made my very first film.

It's very, very political.

It's about.

Unthinkable, yeah.

So based a bit on my own experience of having miscarriages and the feelings and the horror that go along with that.

But then during the pandemic and I've worked on a few other things, some web series.

I directed a bunch of things in pretty short order.

I want you to star in it.

And I was like, of course.

And then he said, I also want you to direct because you haven't acted in anything that you also were directing.

And it was a pandemic.

I wasn't doing anything else.

So we kind of did it as a lark.

And that movie is subscribed.

It went on to.

It was in like 18 film festivals.

It won't so many awards, international awards.

It really, we.

It shocked us.

We did not expect any of it, but it really struck a chord with everybody.

And everybody.

When you're.

When you make a film and it's on the festival circuit, everybody says, what's next?

What's next?

What's next?

And then we made another sci fi short, this one starring Dustin Tuber and Anna Rizzo.

I'm in it as well, called the Rewind.

And we actually got an executive producer on that one and that one's even more successful.

And we just.

Right now we have our third short film collaboration called Proxy.

It's played in three festivals so far and it won the first prize for New England, the New England Film Festival award.

At Flickers, Rhode Island International Film Festival, which is an Academy Award qualifying festival.

It was pretty like that we got in, was like, oh my God.

And then I didn't even go to the awards ceremony.

I was like, we're not gonna win.

Is.

You know, it's a little bit of a. I'm doing a lot of driving.

These are long days.

I'm gonna give Myself the morning off and.

And then my lead actress, the amazing Leah, texted me.

She's like, oh, you guys won.

Where are you?

So it's been amazing.

It's been amazing.

And really, directing is the thing I feel like I never realized I was always headed towards.

I've always loved getting to know people.

I've always loved collaborating with people and telling stories.

And it feels like collage on its ultimate level to me.

Bringing together the sound and the picture and the people and the story and making all of that into this beautiful symphony.

It brings me so much joy and getting to shine a light on the amazing, talented people that are out there.

When I look at a movie, I never see it as my work.

I'm always seeing, like, oh, my God, I'm so lucky to have such great actors.

Oh, my art director is so brilliant.

And I just feel so lucky.

And everybody I work with, I adore.

Like, we've gotten to a point now that we've got our team kind of, you know, together.

Like, we grow a little each time, but I love every single one of them.

I would help any of them move.

And they're just wonderful, creative, amazing people.

And I know they got my back, too, so that's wonderful, too.

And.

And with that team, as you guys did, like, develop together, do you sort of develop that.

That wonderful, like, communication, shorthand, you know what I mean?

You can just like, look at the person and it's like, I did it.

Yeah, we got it.

Yeah.

Michael and I, especially, because we co direct, we co write, we co produce, we co direct, and we'll both be standing at the monitor and one of us will just sort of point at something and the other one will nod.

And then when we call cut, one of us goes to the camera department.

The other, it's usually he goes to the camera department and I handle art and the actors.

But we've already got this Vulcan mind meld going on that we both know what the other one wants from the other teams.

So he can.

He comes from editing and cinematography, so he's much more like, now we got to switch it over to 80 and let's throw it on the Dana Dolly.

Like, he has all of that down.

Whereas I come from an acting background, so I'm much more able to be like, okay, that was really great, but we're going to need to turn it up.

I want you to, you know.

And like.

And I can.

I've also been to so many acting classes.

And God bless Jack McDonald and all my other acting teachers and Heather Witte, for teaching me so many different ways to talk to actors, because each actor is unique and some respond to.

Like working with Leslie on.

She was in cup of Tea, a movie I did without Michael.

She.

I knew I could just say to her, okay, that was great.

I need you to be more pissed off.

And she'd say, okay, and she'd walk away.

And that was all she needed.

Right.

Other actors, they need.

Okay, I need you to think about, like, he hit you earlier.

You need to remember that he hit you once and go about it that way and prompt them more.

And there's no right or wrong way to do it.

Except for some people who say they're method actors, and they're not actually method actors, they're just assholes.

But there's no wrong approach.

It's just, you know, every actor is a different instrument.

And you don't play a piano the way you would play the cello.

Yep.

That's what's fun about it, too, because it's like.

And, you know, in another career, it's like.

Or if there's one career, it's like, there's a very linear.

Like, there's one way to build a car properly.

But with act, with acting, it's like it's everyone's own different way.

And that's what I.

That's what I love about the whole film industry.

William Shatner once said, it's like playing blackjack with the studio.

It's like, what about this?

What about this?

Is this.

I love it.

And bring it team together.

It's jazz also, really.

It's like bringing all these elements together, and it really.

You don't really know what you're going to get.

And when you find a team that just really syncs together, it's really a beautiful thing.

And I've had moments in my career where I've had that.

So it is great that, Diana, that you have a team that you're comfortable with.

So that's.

I love them.

Yeah, I love them.

Finding an assistant director was the hardest part for me, and I didn't.

Didn't know why.

And then Michael said to me, he goes, well, Diana, you usually do all of that for both of us.

So you're holding them to the standard of being able to read your mind.

That's been my problem.

I need somebody that is in my head.

Yeah, it's hard.

It's hard.

I need them to know the answers before I ask them the questions.

And then on the last movie, we worked with the amazing Jimmy Jackson, and every single Time.

I was like, how long does Cameron need?

He was saying it before I finished the answer.

Like, he was just on top of it.

We also have Zach Pigeon and David Olson.

Both of them.

They're sort of utility players on my sets, and they are.

Both also do that.

Yeah, they're both absolute gems, but they just.

They predict, they look for what needs to be done, and then they do it.

I normally.

This is so silly.

This is independent filmmaking at its best.

And worse.

As director, I am often in charge of crafty.

And I will be out there restocking the ice and putting, Putting.

Making sure we have enough seltzer for everybody.

And Zach saw me doing that, and he's like, no, no, I will.

I will handle crafty.

You're the director.

Please go inside.

And I was like, oh, but I just want to.

He's like, no, it's Diana.

Go.

So.

And he did.

He did a wonderful job.

Well, I think we could probably talk about filmmaking and indie filmmaking for like an hour and a half tonight.

Definitely.

I think.

I think we're on our way there, but let's.

So we are here actually tonight to talk about a movie that, Sam, you have been trying to get me to watch for, I don't know, three and a half years.

Something you had never watched it.

I have.

I had.

So we're.

We're here to talk about Gremlins 2, the new batch from.

Was it 19.

1990.

Right, 19.

And I, I, you know, this has come up on a show every few months that I have not watched this movie.

I refuse to watch it, Mike.

I've seen Gremlins.

That's all I need.

That movie looks stupid.

I'm not gonna watch Gremlins too.

And Sam's like, you're gonna watch.

I think at one time, you even threatened to send me a DVD one time.

And I began a quiet, like, soft power, merciless campaign.

It's like now one day.

And I was like.

So then over the summer, we had the idea of doing this little mini retrospective of, like, studio money grab sequels, something like that, kind of this loose idea.

It started off with Jaws 2.

It only went two movies long with this and Gremlins 2.

And, well, here we are.

And not only have I seen Gremlins 2 in the past couple weeks, I watched it twice because I really had to watch again to realize what the hell did I just watch.

So, yes, so I missed the boat on this.

By the way.

Quick random side comment, but I was just thinking about it.

1990 Was a very part 2 ish summer.

It was Gremlins to Die Hard to RoboCop 2.

A weird sequel world.

Yeah, I feel like this was also a weird.

It was like the.

The Looney Tunes rebirth.

The Looney Tunes got really popular around this time.

You.

We had Roger Rabbit, who Framed Roger Rabbit just a few years before Roger the Martian became huge.

Yeah, like there was a lot of Looney Tunes, heavy Looney Tunes influence in the late 80s early 90s.

Really true.

Like, and it was like, it was like, you know, especially in Roger Rabbit, like you're just saying like all over the place.

Before we get into that, our review.

We are getting a little bit of a late start here.

Let's do a little bit of a September end of summer movie catch up with the three of us.

And we don't always have this segment here because we only are doing the show every several weeks or so.

But now would be a good time if anyone here wants to share any recent things that they have seen.

Could be a TV show, could be a movie that they just want to share with our audience that they've seen lately.

Sam, did you have something or should I keep babbling?

You go first.

Babble away.

Babble away, please.

I.

This.

Just recently I saw two different movies that really, really stuck with me.

One being an old movie, but there's a new book about it.

I saw it at the lovely Coolidge Corner Theater with a few.

And our friend Michael Gingold and his co author Chris.

I don't know how to pronounce Chris's last name.

They have a book about the warriors called the Armies.

Armies of the Night.

If you haven't seen the Warriors, I so suggest it.

It's, you know, it's.

It's in the vein of wizard of Oz or the Odyssey or, you know, any other.

I'm trying to get home story, but it is bonkers.

And the fight scenes are amazing.

The costumes, all the.

Oh my goodness.

So I really, I really adored it.

And Michael Gingold has such an incredible depth of knowledge about film in general, but in the warriors especially and the intro that he and Chris did letting us know about how one actor was so annoying to the director that they wrote him out of the film and killed him off early and all sorts of fun facts.

I really look forward to reading the book as well.

Well, and the other movie that really made an impression on me is on the festival circuit right now.

It's called Still Ohio by my friend Kalyn.

It's a time loop movie but it's really good.

Like I know sometimes people like eh, time loop this one.

It has excellent characters, a ton of heart.

It's a girl trying to get down.

She's changing schools and she's trying to get down to her new school to be with her boyfriend.

And she's traveling with a bunch of people she doesn't know in an old station wagon and they stop at a gas station and convenience store in Ohio and then they keep stopping at that gas station and things keep getting worse and worse and worse.

Cool.

Kaelyn did an incredible job.

The tension is amazing.

You fall in love with the characters and all the actors do an amazing job.

And it's one of those films that you can't believe that it was made for so little money.

And you kind of, it kind of makes you wonder what Hollywood's doing with those millions of dollars because she really blew it out of the water.

I'm really hoping it comes to Boston soon.

But look for it.

Still Ohio.

So I just wrote that down.

That's everything about that sounds awesome.

I like time loops.

Anything like I'm on board.

Like that reminds me actually yesterday, last yesterday I wasn't going to talk about it on the show, but I, I watched Exit 8.

It's a Japanese movie, it's based on a video game but it reminds me of that kind of thing.

Sam, have you seen that or.

I don't know if you played the game or.

No, I actually hadn't heard that.

No.

Like the whole thing with liminal space is like a big thing right now.

And it's.

You know, the video game is where persons like people are trapped in this like subway hallway and they have to like get out of this.

I've never, I'm not a gamer but so I've never played it.

But it's creepy and it's really just.

It's like.

It's like a loop.

You're just, you're stuck in this loop and you have to figure out what the anomalies are in it and if you miss it you go back to level zero.

But yeah, I love things like that where you're, you're, you're in this loop in.

Or things are keep repeating themselves and, and like anytime we're like people have to think their way out of this kind of problem or so yeah, I'm a big fan of that kind of thing.

I Love that.

I like, I like that kind of structure.

I like structure and I like where when a movie like creates a whole world and the warriors is definitely like a world in and of itself, movie like that movie is a world like.

Yes, I love that film.

Yeah.

Also growing up in New York in the 80s, it felt like a postcard from my youth in a lot of ways.

Like so much of it felt so familiar.

You know, when I was running with the gangs when I was 3 years old and all.

Even as a three year old, I bet you like showed leadership in the game and they were like, you know, she knows what she's doing.

Yeah.

So Sam, what have you seen?

So I recently watched.

I just like I was probably doom scrolling or something like that.

And it stars Jamie Lee Curtis and Stacy Keach is the main like truck driver that plays a guy named Pat Quid.

And honestly, I would be fascinated at some point for you guys to watch this movie and whoever is listening to watch it.

Because this is a movie that I would show if I was teaching a film class.

I would show this to a film class without saying anything as the teacher, just show it to them and then open it for discussion.

Because I do not think the film works that well.

The director, it's kind of like an homage to Hitchcock and the director.

And it's sort of difficult for me to explain this, but I find it to have very like overdone film schoolish moments where like the.

This is a movie about a truck driver and he's going through the Australian outback and he hears on the radio about a murderer on the loose and he sees this driver that's doing suspicious things that he think might be the murderer.

It's kind of like an overly complicated Steven Spielberg's duel.

But it has scenes in it where like he'll think he's cornered the killer in a bathroom stall and he's talking to the stall door for like three minutes of screen time saying like, when you come out of that door, I'm going to kill you.

And you know he's got the wrong guy.

And you know the cliche that's set up.

So it's one of those movies that's.

I feel like it's trying, but I see its structure and the way it's done and I find the main character to be.

It did not feel like a real person at all.

It felt like a Kind of writer's artifice where he says all these.

He's quoting poems all the time.

He's mentioning Shakespeare.

He's, like, singing in the car and the truck, and he narrates all the drivers going by.

But it feels writerly to me in the worst possible way.

Interestingly enough, Quentin Tarantino loves this movie.

And so I don't know if I was missing a point, but I just like.

And I've only seen it once, so I would maybe have to give it another chance.

But to me, it feels like a movie about someone who loves Hitchcock, but in an overly studied, overdone way, pays too many homages to other directors.

And there's just something about the movie.

Jamie Lee Curtis looks back on it.

She respects it.

She was in it.

She did not have a good time in Australia.

She felt like far away from home.

I think she's in her 20s.

Like, the crew was kind of mean to her, like, according to her.

I mean, so, like, interesting production.

Yeah.

But, like, I'm gonna find that worth a.

Watch their asses.

Yeah.

Seriously, you don't be mean to Jamie Lee Curtis.

No, you don't know.

You guys better stay.

You better stay in Australia.

Don't come over here.

Stay over there.

All right.

But, yeah, my gang will get them.

Yeah, that's true.

Yeah.

Sam, where did you watch this?

I just watched it streaming and I can't remember.

I think I rented it on Amazon prime, to be honest.

Okay.

All right.

And by the way, quick side comment, Diana, with your gang, I pictured this shot where it's like.

Because you're the three year old leader of the gang, they're all tall and they part and they park.

But then the camera's just, like, looking at blank space and it pans down and there you are.

You're like Dirk, and it's this, like, musical number.

That'd be awesome.

Anyway.

Yeah.

Yes.

You guys did.

Oh, wow.

Yeah.

Yeah.

Just happen stance.

Can't keep it going.

But I did.

I went to the theater this past week because I was on a mission to see something.

Yes, you introduced that to me on the podcast.

That movie is terrifying and amazing and unbearable in the best possible way.

I love that movie.

I love the.

The sense of vertigo that would give me.

So I.

So I finally caught up with Fall to Deadpoint before it left the theaters, because it was in there Just for a hot minute.

Because you know what?

It was really poorly reviewed and I found out why.

Guy.

I went there with my.

I went over the weekend two weekends ago with my dad.

He was also a fan of the first one.

It's.

It's hard for him to like a movie.

His opinion that most movies are like, eh, you know, but he actually liked it.

So this one is by the.

I think the Spirig brothers, Peter and Michael.

They take over directing from Scott man, who I think knocked out of the park with the first one, but he's a credited writer on this one.

Well, this one, it's not good.

It really is not good.

But the first one, the first original fall, you know.

You know, even though the women, I'll say this in the kind way, they were kind of stupid to climb that tower in the first place.

Diana, have you seen Fall the first one?

No, I haven't.

Okay.

I won't spoil much.

I won't think you would love it.

Diana, like, not kidding.

I think it's fun.

Yeah.

But what I liked is that they were smart and resource.

Resourceful once they became trapped.

It's about the women that climb this tower, radio tower, it's like 3, 000ft tall.

Something ridiculous thing that they try to do this stunt and they get trapped up there and they have to think their way off of the tower.

And they do some really smart, resourceful things once they're trapped up there.

In Fall two, however, these two people, these two women just do stupid things.

They say stupid things, they continue making stupid decisions and eventually I just wanted them to fall to the horrible deaths because it was just.

I couldn't stand it anymore.

And I just don't like it where from the very beginning, nobody's making any smart decisions in this.

Also the first movie.

This is kind of a weird gripe, but the first movie created this incredible sense of vertigo.

They're climbing this.

This tower and there's this vast sense of emptiness surrounding the characters where you feel like they could fall in any direction.

And I saw this.

When you see this on a big screen, it just really had this.

I had a visual visceral.

I don't know what I'm trying to think here, but like this real feeling of that, like I was there with them, it was just wonderfully.

I know they weren't really on this tower, but it was really well done.

The effects on this.

That's why I'd never seen anything like that before.

Like, that's why that movie was so good, because they're just like.

The visuals I thought were incredible.

Even though I was aware it was like cgi, it just was.

The Vertigo didn't.

It never gave you a break.

It never cut away.

Something else.

Relentless.

I always had that feeling anytime my characters are like looking over an edge of a cliff or something like that, I always kind of get that weird kind of queasy feeling.

But however, this movie, because it's different, they're walking through like the Himalayas and they're walking around this like rock face and they get trapped there in this movie.

And because half the half of the set is a rock face and just inherently half of the background is just a wall of rock, it's just.

They're less exposed, you know, and it's just visually less interesting, less intense.

And it never produced the same terrifying sensation of height.

This just sounds like a multi point failure because I feel like the art director and the cinematographer both should have been like, hey director, we can do something much more interesting.

And.

But the director must have been like, no.

Or directors in this case.

The problem with the movies is far beyond that.

It's terribly written, terribly poorly written.

Characters that just make dumbness.

I was thinking their problems through way before them.

I just take the pieces of the ladder and build the thing there, like done, you're out of this.

And like, why didn't they do that?

And like it's anyways, it's.

It really frustrated me.

Were they written?

Did they feel like.

Did the characters feel like owners?

Did the characters feel like people?

Or did they feel like writers just writing the characters as objects to create the set?

Yeah, there were so many things that were just like plot devices just so that these.

They got them to this point, to this point and it was dumb.

I don't even want to talk about it anymore.

But I was looking forward to this movie too, so I was disappointed.

So another thing I want to talk about, Sam, a couple weeks ago you me went out, grabbed some drinks and you recommended a movie to me that I immediately came home and saw.

Yes,.

Yes, under your recommendation.

I can't believe you actually watched that.

That's amazing.

Watch anything, I'll watch anything.

This is directed by the great Hal Needham.

Best Little Whorehouse in Texas, was it?

And like Stroker Ace, all these wonderful late 70s, early 80s Burt Reynolds movies, man.

So.

You know what though?

This movie was pretty good.

It is, It's.

It's ridiculous.

Like it's.

But it wasn't.

It was not What I was.

It was better than I thought it would be.

So Reynolds plays this, like, veteran Hollywood stuntman working on this, like, big action spy movie, I guess.

And a younger up and coming stunt performer arrives on set and you kind of expect them to become like bitter rivals.

But I like the fact that they kind of develop this bond and become friends.

The younger stuntman, Jan Michael Vincent, whom I only remember from the 80s television series Airwolf.

I don't know if anyone ever watched that show.

I heard that.

I have not seen that, but wow, that's amazing.

That's the only thing I've ever seen him in.

Like, I know that guy.

So I had to like, pause the movie, Google, like, who is this guy?

This guy's one of the most handsome people on the planet, this, this younger actor, but he's pretty good.

Well, anyway, so I think Burt Reynolds, this is one of his best movies as far as a performance he gives.

And this is one of his, you know, compared to his campier roles, he's not giving the full on wink at the camera version Persona.

It's a little bit there that we're accustomed to.

It's almost there, but it's more of like half a wink.

But he's.

Yeah, he's legitimately.

Well, he seems funny.

He's funny and they seem like real people.

And it's kind of a hangout movie.

It's like, hey, spend some time in the life of a stuntman on the set with these kooky characters.

And Richard Klein as Roger Deal, the director, such a total dick and, like, hilarious character.

I just, without giving anything away, I have to ask you this right now because I know you will remember this doesn't give anything away, but at the very end of the movie, it's Richard Klein and Burt Reynolds looking at each other.

And it's the very end of the movie.

And he's like, yeah, well, you know, I. I know it was tough, but we got through this, you know, like, no holds barred or like, let's, you know, break ice or whatever.

And I just wanted to have one intelligent moment where like, Burt Reynolds says an adult line of dialogue or like, yeah, we got through it.

But what does he do?

He punches him in the face.

He comically falls backwards.

And then him and Sally Field look at the camera like.

And it's like the end.

And I'm like, you guys.

Like, that could have been a human moment, like, but it is funny, but it's ridiculous.

That's my major complaint with the movie.

We have to go on too.

Yeah.

Is that, is that.

You asked me.

You want.

You asked me about the ending for this movie.

And I didn't want to spoil too much for any listeners who haven't seen this movie because I do think, you know, this movie is 100% worth checking out.

But I do wish that this film had committed more to a realistic and possibly darker or more cynical ending.

I would.

Because at one point, I'm not saying what happened in the end of this, but I really, for a moment bought into that.

They were going to commit to the dark ending that they did.

But they did like a baby switch on us.

They could have done that.

Yeah.

And I was a huge fan of that moment when it happened.

Like, oh, they actually went there and I would like, I, like, I was ready to take my hat off and like, yes.

I'm so proud of this movie for doing that.

And then of course, it doesn't do that.

And it's.

It's Burt Reynolds, you know, of course it's gonna.

It's not going to be that kind of movie.

That's, that's the thing, though, about, like, Burt Reynolds and Hal need him.

Like, they'll almost get, like, wise, but then like, they're like hillbilly tendency comes in.

They're like, let's race some cars.

They just can't resist it, you know,.

Like, it's gonna take the.

The, the railroad.

It's gonna take the low.

Always.

Always.

Well, anyways, it is worth it.

It is better than most of some of the.

The.

You know, I'd watch this over any Smoking the Bandit sequel.

I watch this over Cannibal Run.

I watched over a lot of Burt Reynolds movies.

So this is top half Burt Reynolds for sure.

And by the way, I may have made a mistake.

The, the guy that played Roger Deal is Robert Klein.

I believe I called him Richard earlier.

My apologies.

He does not care.

Yeah, I'm sure he doesn't.

We're sorry, Robert.

Well, anyways, I know, but it also, you can watch it for free a lot of places on Tubi.

It's on hoopla.

It's on Watch tcm.

So it's, it's everywhere.

So.

Yeah.

Okay, nice.

There's that.

All right, so we've covered some of our movie watching catch up.

We are.

We're almost 40 minutes into the show.

We haven't even gotten into our main review.

Yay.

Let's.

All right, let's.

Let's talk about Gremlins.

Let's play the trailer.

Remember the last time we told you not to feed them after midnight.

We told you to keep them away from the light.

And the most important warning of all, we told you to never, ever get them wet.

You didn't listen.

They're mutating.

Sir, is the building on fire?

No, no, that's a false alarm.

Are you trying to panic New York City?

Absolutely not.

So the monsters are real?

I didn't say that.

Gremlins 2, the new batch.

Now, was that civilized?

No, clearly not fun, but a note and civilized.

I saw that trailer in the theater as a kid when I went to see Teenage Mutant Ninja Turtles that spring, and I was like, that was the.

The most excited I'd ever been.

I did not know a Gremlins 2 was going to happen.

And I saw that and was like, there was joy in my soul.

You remember so much more from the 80s than I do.

I think I saw this trailer.

I'm like, nope.

Oh, no.

I. I will say my.

My husband came in when, like, the movie was well underway and sat down for a minute and was like, what the hell is this?

I just.

For some reason, I picture him walking into the scene when, like, Donald Clamp is, like, putting the gremlin, like, into the paper shredder, and it's all like.

He's just like, great favorite moment.

Yeah, that's one of my favorite moments.

It might actually.

It might have been right around there.

Like, it was.

Yeah.

In the middle, like.

Yeah, I picture d. That's what you normally would watch, you know, that kind of thing at home, so.

Well, nine times out of 10, when I come home and he's watching a movie, it's Battleship.

So I feel like I can watch whatever the hell I want.

Nine out of 10 times, he's watching the movie Battleship.

Yes.

I've seen that movie many times.

It's.

It's ridiculous, but it's, like, so freaking watchable.

I've watched it, like, several times.

Yeah.

Wow.

We could talk about that another time.

We need to talk about Gremlins, too.

Yeah.

I just have a quick plot synopsis directly from the back of the VHS box.

Art.

I had to take it from that because I wasn't satisfied with IMDb or Amazon or Wikipedia.

So this seems much better.

Here it is.

Those gremlins are in the works again.

This time, the malicious creatures cause hilarious rise.

High rise.

Havoc in the Manhattan skyscraper.

The new batch hatch from Gizmo when Clamp center water sprinklers do their worst.

But there's even worse to come when the mogwai Becomes sinister experiments for genetic engineers.

A towering inferno of thrills.

Comedy and horror from producers Steven Spielberg and Joe Dante.

Did Steven Spielberg have anything to do with this movie?

Yes.

You did.

Definitely.

I know Amblin is the name on this, but, like, I can't.

I just don't see Steven Spielberg touching this.

But okay.

I mean, he was the executive producer.

Wow.

And he.

There was supposed to be more Looney Tunes stuff, and one of the things he did was like, can we not, like.

Not so much Looney Tunes, a little less Looney Tunes.

For some reason, I picture him being like, guys, it's about Gizmo.

Give him as much screen time as possible.

And Gizmo's barely in it.

That's true.

Yeah.

Gizmo's like the Buffalo Bill of gremlins, too.

It's very important.

But barely in the movie.

Well, Gizmo.

I blame Gizmo for everything in this movie, for going wrong.

Because if he just stayed in the drawer, we wouldn't have a movie.

That's true.

All he had to do was stay there.

Billy said, stay in the drawer.

I'll come back for you later.

And if Gomez Adams had fixed that water fountain more effectively.

The thing that got me about this movie was every five minutes, there was.

Maybe it wasn't intended to be a cameo because, like, the.

The twins who played the security guard and Terminator 2.

I'm sure they were just cast, but to me, that's a cameo now.

But there was just so many cameos and pop culture references and Phantom of the Opera and all of these things peppered in.

That's what I love it.

It's like, there's pop culture references.

There are, like, visual sight gags.

And every second there is, like, background, like, the Smart Building.

Like, the things the elevator says.

Like, it's like, hello, welcome to the men's room.

That's my favorite stuff in this movie, is all the.

The Smart Building is.

But here, I love it.

The untamed element, oldest of man's mysteries.

Give her a warm destroyer of forests.

Right now, this building is on fire.

What?

Yes, the building is on fire.

Leave the building.

Enact the angel drama of self preservation.

Fire.

Fire.

I love the.

The Smart Building.

I. I want a whole movie of the building talking.

The running commentary of the building made the movie.

Saved the movie for me easily.

But, Diana, you talked about the cameos.

It's like everybody who worked in Hollywood decided they could just walk onto the set of this movie.

Like, there's no rules.

Yeah, no, but it was Amazing in that way.

And I'm sure, like, Sam, I'm betting that you remember when you were a child and you saw Hulk Hogan and that was back before we knew anything about him as a person.

And that was super exciting.

No, that was amazing.

And then when the movie came out on vhs because the, the movie theater, the film melting sequence no longer worked.

They switched it so it would be like a blurring, like videotape.

Yeah, the, the.

Yeah, go ahead, sir.

But.

And then they.

I don't know if they dubbed it, but it was like.

I don't remember it that well, but it was like John Wayne or something on like a television show.

Like, hey, you know, let's get the Gremlins back in your TV and get back to the entertainment.

But I don't remember the gag that.

They got, they got, they got the John Wayne estate permission to do that.

And his son dubbed in John Wayne's voice.

See, it's terrible.

The, the movie.

The theatrical version is better.

I did watch.

It's available on YouTube.

You can watch it.

It's not good.

Yeah.

At all.

It's a poor.

It's a poor impersonation of John Wayne.

It's terrible.

So, yeah, see, it's interesting is like you talk, you know, like going just briefly to like, the movie, the, like the movie facts.

Like, Joe Dante did not want to direct Gremlins 2.

He thought the first one was complete, told a good story, but when the studio gave him not only full creative control and tripled the budget, like, it was really hard to say no.

And the thing is, so the thing I love about this movie personally is like, he didn't want to make a sequel.

And so it's like he's making fun of sequels completely on purpose while telling another Gremlin's tale that happens to be like wildly over the top and entertaining and just as bonkers as the first one.

Unhinged, breaking the fourth wall.

Just nuts.

But the whole movie is like making.

I just feel like in a self conscious good way.

It's making fun of like the sequel has to be bigger and better.

So it's like the huge building.

Like Donald Clamp, we're in New York City now.

And like the whole tone of it.

I like that it's in a high rise building and, and not the town.

Although between the two films, for me, hands down, I like the first one infinitely better because it's a.

There's a.

It's darker.

But yeah, it's funny that Joe Dante was holdout for this because you know, his success.

He didn't really have a lot of successes between these two movies.

He did some interesting movies in between.

I know he worked on Explorers and Inner Space and the Burbs.

These are movies I like, but they were kind of commercial failures.

And it took really twisting his arm to come back to, I think, also, again, increasing the budget.

And also that the fact that they brought in Rick Baker to do the creature effects on this movie, which, I admit they were impressive.

What they did with the Gremlins and all the creature stuff, some of it, I think was just way overboard, but some of it was impressive.

It does go out there.

Yeah.

The Bat Gremlin is amazing.

Like, I hate what they do with it, though.

But go ahead.

You put it in.

I love the gargoyle bit, but you put that in any other movie.

Yeah, yeah.

But you put it in any other movie, and that's a scary creature.

Yes, it does look scary.

Yeah.

But even though this is listed as a horror.

Horror comedy, I think it's a satire.

Oh, yeah.

I think.

And especially when Kate starts doing a monologue about President's Day.

Yes.

Lincoln's birthday.

Lincoln's birthday.

Yeah.

And then.

And Billy's like, honey, we don't have time for this.

I, I.

First of all, Billy may be the worst boyfriend of all time.

He's a terrible boyfriend.

Yep.

But the fact that, like, they were flat out being like, yeah, her monologue is a real downer in the first one.

That's what's so funny about that.

Because it's like, in the first one, she gets, like, the whole thing to finish.

In the second one, it's like the same beat, the same story beat happening again.

He's like, like, no, honey, please.

Like, we don't want to do this.

They have a really bizarre relationship, these two.

I think that, first of all, they're both working for Clamp, and she.

He is trying to work in some marketing designing thing.

She's like a tour guide in.

Yeah.

I don't understand what this all about.

And I. I just guffawed at the moment where he goes to see her at, like, wherever she.

Her.

A space where I think it's like a women's locker room, perhaps, where there's women in, like, in towels, where they're having a conversation in the background.

I don't know if anybody noticed this.

Which, which there's a scene after he tells you need to take Gizmo home.

He.

There is a.

There's a scene where they're talking, and in the background, there's women in towels.

It's like they're having a conversation in a locker room, right?

And I'm thinking to myself.

And I'm thinking to myself, like, Joe Dante did.

Did he?

Not even.

Was his ideas like, like, fuck it, let's just put, like, women in towels in the background, or was this.

Was this supposed to be a gag?

I can't figure it out, like, because everything is a gag in this movie, but there's no real reference to this whole thing.

It's just completely bonkers, like, why this is here.

I want to think that, like, going back to it being satire, like, that was such an 80s thing.

Well, yeah, like, random conversations in women's locker rooms.

That I want to keep the faith and be like, he put that in there to be funny.

Because it's so unnecessary.

It's so unnecessary.

But you got to watch that scene because it just makes no sense at all.

There's no.

It's.

It looks.

Yeah.

I don't know.

It's hysterical.

I just.

I just love, like, Dick Miller and his wife, like, being back in his movie.

Wife being back in that story when they just show up and they're like.

He's like, ah.

He says.

He's like, this city is different these days.

I just.

They're like, it was so nice to see them.

And, like, Hoyt Axton, who plays Billy's dad, was originally supposed to make a cameo at the end of the.

Where he'd invented a raincoat for Gizmo to stop him from getting wet.

And the filmmakers cut it out because, like, the movie was too long.

Because that would be too ridiculous, you're saying?

Yeah, I think it was like they'd run over time, like, ah, this isn't necessary.

We already have the big, like, Broadway number electrocution scene.

We don't need that.

And so he wasn't there.

But I do.

I love those characters returning.

And just like, I was glad.

I was glad to see them in the movie because he's funny.

He's funny.

He's good.

He's so shoehorned into this story.

What is his relationship with Billy and Kate?

That's what's funny about it.

They're random neighbors.

And, like, Billy, like, only helped him, like, walk home drunk from a bar on the first one.

It's like.

It's not like they're that close.

They sort of are, you know, I.

Feel like somebody in the production said, hey, people like Dick Miller, let's get him back in the movie.

It did feel very like, who who lets their elderly neighbors from back home that they barely know crash on their couch in New York?

And also who shows up a whole day early when you're staying at somebody's house?

Yeah, like, we were gonna call, but.

We had to love that.

And I. I do feel a little bad for them when they're, like, kicked out because it's like, I totally understand it, but it's like.

Like they got to go travel again.

Like, you know.

You know, getting a hotel in New York is not cheap either.

They.

They have to go spend a hundred dollars at, you know, in New York.

So that's r. Yeah, I know.

It was sad.

It's like, they're like, hey, good to see you.

They're like, get lost on the streets of Manhattan now.

Off.

You know,.

I just like that.

I do like the line.

One line, I don't know if it plays is, like, unintentionally funny.

But when, like, he, like, Dick Miller, like, turns, turn, he's like, I was never crazy.

I'm fine now.

Let me in the building.

So it's like he says he wasn't crazy, but then right after that, he, like, acts crazy.

And it's like, I just thought that was a.

Like a moment there.

I really like this film, and it is ridiculous, but it's.

It's Looney Tunes ridiculous.

And I think that's what I like about it.

And yes, they cram so much in.

You say Looney, Tunes, yet the movie starts with Daffy Duck and Bugs bunny also.

Yeah, 100%.

That was part of the deal.

To get Joe Dante onto it was to let him basically embrace Looney Tunes.

He's a big Looney Tunes fan, and he's like, I want to use Donald and Daffy, and I want to do, like, Looney Tunes stuff.

I want to basically make a live action Looney Tunes movie.

And they were like, okay, if that's what it takes.

And he did.

And the sound.

The sound editing on this is so Looney Tunes.

There is so much everywhere.

Boing.

And yeah.

And like, whistles, like.

Birds chirping and stuff like that.

Every.

Everything with the.

The Smurfette of the Gremlins.

The Lady Gremlin.

I call it the Horny Gremlin.

The Horny Gremlin.

That's why I also.

There she is pretty sexy.

She is.

By cartoon standards especially.

She has all the hallmarks of sexy cartoon woman.

Do you see those calves?

I.

Another thing that stood out to me about this movie, and it.

Maybe it's just my thing, but There were a lot of redheads in this movie.

Marla.

Yes.

Okay, so.

Yes.

Shout out to Marla Bloodstone and that, like, social climbing, vicious character.

I. I love her.

Yeah.

The best New York accent I have heard in a movie where no one else has a New York accent.

Yes.

And that ridiculous Canadian restaurant they go to is amazing.

Oh, my God.

Place in town.

And you say that they're in New York, you think it's going to be, like, all upscale, and they're gonna, like, order a martini and this, like, Cosmopolitan, this restaurant with a big, giant, like, mechanical moose.

And it's like, what is.

This is great drinking Molson and having a Mountie serve their food.

Yeah.

He's like, so is the.

Is.

And, like, as stereotypical.

It's like, so is the food good?

A.

Like, it goes, like.

Goes for it right down the middle.

Yeah.

Better than bubba Gump Shrimp Co. You know?

Yeah.

We.

I want to talk about Clamp for a moment because, you know, I mean, it's obviously, it's so obvious that he is like a Trump surrogate from, like, the late 80s 90s, you know, in that different era.

Yeah.

Yeah.

And.

And we think about that Trump, Marla, you know, did anyone make that connection?

Yeah.

Oh, they weren't.

They were not being a light touch.

No, no, no, no.

But, you know, I.

This reminds me, you know, I have one of my gripes, though, with this movie is that I think this movie has kind of, like, a villain problem, though.

And this is one thing that I wish it kind of kind of didn't have.

Like, I found it unsatisfying that all these characters, you know, Clamp.

Even though Clamp is a fun character, Marla, even Forrester.

No, all these characters kind of are presented as somebody who is, like, a threat or threatening or is as a foil to Billy or Kate or, you know, this whole thing.

They're going to be a problem in this movie, but everybody here is redeemed in some way or is turned out to be not a threat at all.

And I didn't like that.

That there's no villain in this movie, really.

Except for the.

Except for the.

I mean, the Gremlins, you know.

Exactly.

But we had, like, Mrs. Deagle in the first movie.

Somebody.

We wanted the Gremlins to, like, get somebody.

Like, somebody need to have the commutants, you know?

Well, I think that's what Forrester was supposed to be, but he was.

In the end, he kind of played for, like.

Because it's not a horror movie, it's a satire.

I know, but occasionally it leans into, like, a great moment that happens is a horror moment.

I love it when all the.

The guys are in the control room and they're having that.

Knew you would love that scene.

They were like, talking about the rules of the Gremlins.

Like, I was.

I was literally gonna mention that to you because you were talking about that from the first film.

Yeah.

Because this is something that was a debate with fans and critics for years and years and years and still is.

You know.

You know, if it's midnight now, but they cross over to a time zone, all these things have come up.

And I love the fact that a gremlin comes smashing through the control panel and attacks the guy in a extremely scary and horrific way and goes after the jugular.

And I don't know if he killed him or not.

I probably didn't.

But it's.

It's shocking.

It's a great jump.

Scare.

The movie does that.

Why that one time it goes for that moment and I wish it did more.

That kind of thing.

And I love that because it's kind of giving the whole middle finger to the whole debate of these rules.

Because.

Right.

For the most part, this movie does not care about the rules at all.

No.

You know, it's basically saying that water, food, you know, these gremlins are getting wet constantly.

They're eating anything.

They don't.

None of this stuff matters anymore.

The rules do not matter is what this movie is saying.

Forget the rules.

Yes, I do think it's interesting because I feel like another horrifying moment comes in when the movie reviewer, whose name I'm completely.

When he's giving.

What was his real review of Gremlin?

What the hell?

Like, the fourth wall in this movie, like, just like, goes through, like, two more walls after the fourth wall.

Like, I don't even know what to make of it, but I'm entertained and I'm like, okay.

Yes.

But I feel like this was like, Joe Dante was just having fun.

And I have fun watching it.

Good for.

Let him on Such a good sport for doing this.

Number one.

Yeah.

Then.

And then he really.

He gave the second film a really good review.

And I think it's like bias.

It's like.

Yeah, but like.

Because you were in it.

But he probably liked it too.

I know I'm supposed to check my brain here, but I'm scratching my head because now that the movie Gremlins apparently exists in the universe of Gremlins 2, what was the.

Was the first movie a documentary?

I mean, how.

How does this work?

It doesn't make sense.

I'm like, I'm.

I'm done.

Like, I don't know.

I don't even think.

I don't even think it's trying to make sense.

I think it's like taking you on a ride for the.

For just ridiculousness.

And so.

But I hear you, Nathan.

Like, I love the roller coaster nature of the movie.

I do think there could have been more scarier moments like that.

And to your point, the creature, the gremlin jumping out of the control panel, that is my favorite jump scare in the whole movie.

Because you.

It's.

You don't see it coming.

They're in the middle of, like, comedic expository dialogue, and then the thing jumps up.

I would say the other moments that.

That don't get to the same, like, terror level, but that are, like, in that vein is the elevator sequence.

And I do like when she rides out.

And it's also funny when, like, the elevator lands and they just all get squished.

Like, I thought that was hilarious when I saw that as a kid, because I wasn't expecting to see something so funnily gross.

And I was like.

And then the.

I do like that.

The spike, like, the Mohawk gremlin is back and he turns into the spider gremlin, which is cool.

And I thought they could have done a little more with that because that was.

That felt like the spider gremlin scene where, like, Gizmo sets it on fire felt to me like a bit of homage to the awesome ending in the department store of the first movie where it was really like a more violent, like, chainsaws and, you know, like.

Yeah.

And that went back to that tone.

And then it's like, nope, you're watching Gremlins 2 now.

Time for a Broadway musical in New York, which I love, by the way.

Yeah.

I don't know.

I'm so, so over the top.

But, like, I undeniably, like, I can't help but I love that scene.

It's like.

I just think it's clever how they kill them with, like, electric Gremlin.

Like, I like that I was thumbs up to that plot.

Him getting stuck in call waiting is just.

Anyway, Nathan is so not amused.

I was.

I was amused.

I just wanted.

I. I don't know.

Things just went on and on and on, and I just.

I was.

I was highly entertained and highly frustrated equally in this movie.

Movie.

That's all I can say.

It's the.

It's the most conflicted I've been Over movie in so long.

Because, I mean, I. I will share my final thoughts.

I have some.

I'll share things about this.

So there was one or two other things I just had to get off my chest.

I do want to give a shout out to Robert Picardo.

His character of.

Of was just like the.

I love.

I vividly remember watching this in the movie theater with my father.

And it's the scene where he catches the guy smoking in the.

Like, he's on the security, and the guy smoking is a famous actor who was in the burbs.

And Harry is.

Harry Gibson, is it?

Yes.

Yeah.

I'm blanking on his name.

He's amazing.

So, like, Robert fires him.

He's like, you are terminated.

Bye, bye.

Leave the building.

And then my father quietly turned to me in the theater and, like, was laughing to himself.

He's like, these people are.

Aw.

Henry.

Henry Gibson.

Yeah, he's great.

He's great.

He's done, I think, things with a lot of work with, like, Robert Altman back in the day as well.

He's awesome.

The Brain Gremlin.

Brain Gremlin.

We haven't talked about him at all.

Voiced by Tony Randall.

Yes.

One of my favorite parts of this movie.

And I love.

I think it's just hilarious that he's so sophisticated and articulate, and I just, like, he's calmly discussing civilization while the rest of these creatures are just, like, destroying the building.

He's a perfect part of this movie.

I love it.

He says out loud and embodies the fact that being chaotic is just part of their nature, that they are the embodiment of chaos.

I also.

Julius Sweeney was one of my favorite.

Like, oh, my God.

The first time watching this, I would not have recognized her because I wasn't staying up that late to watch SNL yet.

Right, right.

I don't even know if she was on SNL yet, but she always.

She always gives such a hilarious, grounded performance at the same time.

Yes, yes.

Just like.

I don't think I remember her from this.

She is the receptionist in the genetics lab.

Okay.

And she's the one that.

She has, like, the.

The, like, cold.

And she gives it to Christopher Lee and he's like, thank you.

And by the way, like, Christopher Lee, amazing.

Like, in terms of ridiculous gags, if you want to talk about, like, the crazy plot devices of this movie, a lot of things you can buy, you're like, that could happen.

Like, Gizmo could get picked up.

He could escape.

But that genetic slab in that building is like the screenwriters coming together and be like, oh, what if.

Okay, what if an elephant walks by?

Then we'll do it.

It's like.

And they are just out there.

That lab is like the epicenter of the incent of the tone of Gremlins 2, where every shot is a gag, every line is a gag.

Like, his name is Dr. Catheter.

You know what I mean?

Like, come on.

I love it when he walks up to the twins.

He goes, martin, Hello, Doctor.

How's the cloning?

We're coming along.

I didn't catch that at first, but I was on the second watch.

I caught that.

And their.

Their names are Martin and Lewis.

Yes.

Yeah.

And they wanted to go further with the genetics lab and have even more ridiculous stuff, but they just, like, ran out of money and ability.

They wanted to have a hamster cow crossover in a giant.

Oh, my God.

Oh, the cow.

Anyone catch the cow talking?

I am calm and centered.

I enjoy giving milk.

I lost it.

I actually lost it when I heard that.

Sorry.

No, no, it's all.

It's just all.

It's all amazing.

And I. I just.

I love the.

The fun of it.

That's.

That's just.

It's pure joy.

I agree that what I like.

What is fun about Gremlins 2 is it's different than the first one.

The words I would describe it, it's very, like.

Like splashy and.

Oh, my God, I literally forgot what I was gonna say.

I forgot the other word.

But, yeah, it's like splashy and, like, abundance, and it's over the.

It's like.

It's excessive in a good.

It's.

It's like.

I feel like it's pointing fun at sequels and just, like, pouring money into these, like, grandiose sequences.

Like, it's, like, bigger than the first movie.

But I still.

I love the first film more.

But, yeah, I just.

I like.

It's interesting because it's different enough that it's not a carbon copy of the first one.

That's what I like about it.

What are you gonna say, Dinosaur one.

Quick aside, if you get the opportunity to see Borman and the Devil, it's a documentary about that exorcist.

New.

Right?

Yeah, I just.

I saw it at the Boston Underground Film Festival this past March, but it's.

It's out there now.

I think you can watch it.

I think it just came out.

Oh, awesome.

Okay.

Yes, I heard good things.

It's.

I've never seen Exorcist 2.

Oh, my God.

I loved this documentary.

What are you guys doing over here.

But.

No, this, this.

I know.

The Jaws 2, Exorcist 2 and Gremlins 2.

Come on.

We're trying to get through all these franchises.

Okay.

But the Borman and the Devil.

Excellent documentary.

It really makes you appreciate what they were trying to do with the Exorcist.

To interesting.

Which is avoid the regurgitation.

That happens with most sequels.

Yes.

Yeah.

They certainly, Certainly succeed.

Yeah, I. I don't.