Thomas and Frank review two more 90s films while battling technical issues that threaten to ruin their recording.
First, Frank reviews "Deep Cover" (1992). Then, Thomas reviews "Everyone Says I Love You" (1996).
It's a slightly problematic 90s Double Feature, and it starts right now!
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Meet Your Double Feature is a double-blind movie review podcast hosted by brothers Thomas and Frank. Thomas is an event producer and broadcaster from Chicago. Frank is an independent filmmaker living in Los Angeles.
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Music for tonight's show licensed through Soundstripe
"The Shakedown" by Dresden, The Flamingo
"Soul Tonic" by Cast of Characters
"Sophistikitty" by Cast of Characters
(00:00) Intro
(03:59) Deep Cover (1992)
(42:54) Everyone Says I Love You (1996)
(50:13) Final Scores and Wrap-Up
(55:53) Outro
00:00:09
Tonight on Meet Your Double Feature, policeman Russell
00:00:13
Stevens goes undercover to infiltrate a dangerous LA drug
00:00:17
cartel in Bill Duke's deep cover.
00:00:20
Then an upscale New York family muses about the trials and
00:00:24
tribulations of love in Woody Allen's Everyone Says I Love
00:00:29
You. It's a somewhat problematic
00:00:31
double feature, and it starts right now.
00:00:43
Hello and welcome to Meet Your Double Feature, a double-blind
00:00:46
movie review podcast. My name is Thomas.
00:00:49
I will be one of your two hosts for the show this evening.
00:00:51
In a moment, I'm going to sit down with my brother Frank, an
00:00:54
independent filmmaker from LA, as we discuss two more films in
00:00:58
our blind review series. The way things work here is that
00:01:02
each episode, Frank and I swap recommendations for films that
00:01:05
neither of us has previously seen, and we find out in real
00:01:08
time through conversation whether the ones we picked were
00:01:11
a new favorite for the other person or just a complete waste
00:01:14
of time. We're still also in our
00:01:16
Forgotten 90s theme, so each episode focuses on films
00:01:19
specifically from the 1990s. We're about halfway through that
00:01:22
first season, and we're keeping track of the total review score
00:01:25
points along the way. For those who are keeping track,
00:01:28
Frank is actually currently down about four or five points, so
00:01:31
we'll see if he can make up the difference starting in this
00:01:33
episode. Now, if you are a new listener
00:01:35
to the show, I will say this is maybe not the best jumping on
00:01:39
point. I'd recommend either our first
00:01:41
episode or even the one right before this one.
00:01:43
Episode 4. And the reason for that is that
00:01:46
tonight's episode is a bit irregular.
00:01:48
We actually almost had to scrap the entire thing due to multiple
00:01:52
technical issues that we encountered when handling the
00:01:55
original recording. The biggest issue is that in the
00:01:58
second-half of the show, when I talked about the film that Frank
00:02:01
asked me to review, Woody Allen's 1996 film Everyone Says
00:02:04
I Love You, the audio from that half of the recording got
00:02:08
corrupted and we suffered some data loss that basically made
00:02:11
the audio unusable. I spent a long time trying to
00:02:13
fix it and I did bring it back to a point where it was
00:02:16
listenable, but because it wasn't up to the audio standard
00:02:20
of the show, I decided not to use it.
00:02:22
What Frank and I did instead is we actually got together a few
00:02:25
weeks after the first recording to re record a sort of
00:02:28
supplement that takes its place. It's a little bit shorter, sort
00:02:31
of just a summary of that initial conversation.
00:02:34
I didn't want to do an entire retake because so much of the
00:02:38
magic of our show is that moment of realization where you find
00:02:41
out what the movie was that the other person watched and what
00:02:44
they thought of it. So for the sake of the overall
00:02:46
continuity of our program, I wanted to make sure we included
00:02:49
something for that film so you know what I thought about it and
00:02:52
how it was scored and everything.
00:02:53
But you'll notice that that half of the show is trimmed down and
00:02:56
is something we recorded long after the fact.
00:02:59
The other problem, which we didn't even notice until after
00:03:02
that was re recorded, is that in the first half of the show,
00:03:05
Frank's audio was being picked up by the wrong microphone.
00:03:08
So occasionally during his review of deep cover in the
00:03:11
first half of the program, his voice kind of flickers in and
00:03:14
out and I had to boost that audio a bit, which created some
00:03:16
mild artifacting in the background.
00:03:18
Suffice to say, this was sort of a cursed recording again.
00:03:21
We almost lost the entire episode as a result of this, but
00:03:24
after a number of hours of work, we have restored it to perfectly
00:03:28
listenable quality. But that's why I would say that
00:03:30
if this is your first time, I really would recommend checking
00:03:33
out one of our other episodes first, just to get a sense of
00:03:35
how things normally sound over here.
00:03:37
None of that is to say that you will not enjoy tonight's
00:03:39
episode. There was some really fun
00:03:40
conversation captured both in the initial recording about Deep
00:03:43
Cover and in the one we recorded later summarizing our
00:03:46
conversation about Woody Allen. So with all of that preamble out
00:03:50
of the way, here is tonight's episode of Meet Your Double
00:03:53
Feature. All right, Frank, welcome back.
00:04:01
Episode 5 already here for Meet Your Double Feature.
00:04:04
How are you doing today? I didn't expect that.
00:04:09
Yeah, I don't usually add that just so you don't tell me how
00:04:12
you were yesterday. How are you doing now today
00:04:15
specifically? I'm good.
00:04:20
I was worried because if I'd asked about the wrong day it
00:04:22
could have been a different answer.
00:04:23
Yeah, yes. You never know.
00:04:24
You never know. Any who we got a movie show, so
00:04:28
we're going to start that now. Apparently, yeah.
00:04:30
All right, so for episode 5, we again, we talked about the
00:04:34
movies we selected at the end of our last episode.
00:04:36
So today you're going to be discussing Deep Cover from 1992,
00:04:40
which I recommended. But I'll be honest, I no longer
00:04:43
remember what Deep Cover is or why I selected it, so maybe you
00:04:47
can tell me. I I was going to ask what the
00:04:52
motivation behind this pic was. I have to imagine it had
00:04:55
something to do with the cast. Yeah, yeah, yeah, yeah.
00:04:57
Cuz this is I want to say it's Laurence Fishburne and what's
00:05:02
his name do? You want me to tell you, or do
00:05:05
you just want to keep guessing? Just leave the audience in
00:05:08
suspense. I want to say it's Jeff.
00:05:10
Goldblum. Yes, yes it is.
00:05:12
OK, that's what it is. I think I saw those two.
00:05:14
I thought that was an interesting pairing and there
00:05:17
was like a cool cover art for the Criterion version of the
00:05:21
film. I think that's all I went off of
00:05:22
for this one. Yeah, that I actually didn't
00:05:24
know that until after I watched it.
00:05:26
But this was added into the Criterion Collection in 2021,
00:05:31
which was like the first like 4K digital restoration of the
00:05:35
movie. Interesting.
00:05:36
And it's actually correction on the actors.
00:05:40
It's Larry Fishburne, as he's credited in this movie for some
00:05:44
reason. What?
00:05:45
He goes by. Larry, I guess he did for a
00:05:48
while. I don't know how long in his
00:05:50
acting career, but it's it's Jeff Goldblum and Larry
00:05:54
Fishburn. That's weird.
00:05:56
What I can't think of another example of that of someone
00:05:58
making it into multiple starring roles and then trying to change
00:06:02
their name, you know? Yeah, I know what and this.
00:06:06
Apparently this was the last film where he was credited as
00:06:09
Larry. Oh, RIP Larry Fishburn.
00:06:12
It's his final performance. His swan Swan.
00:06:16
We'll never see him again, but. Morpheus who?
00:06:22
That's weird. OK, so I know that again, from
00:06:25
what I can recall now that I've been reminded, I think this was
00:06:28
like a criminal drug cartel kind of movie.
00:06:32
Is that is that the right direction?
00:06:34
It very much is that that's exactly what it is.
00:06:40
I was getting similar vibes to grifters.
00:06:44
Oh, bad sign. Check out Episode 2 for our
00:06:49
thoughts on directories. Yes.
00:06:52
And I was like, at first I was like, why does he keep
00:06:56
recommending these movies to me? That's a long con.
00:07:01
I'm just going to make you watch a series of terrible crime
00:07:03
films. I got to be honest, early on I
00:07:07
was like, So what are the rules if I just turn this off?
00:07:11
Because I was like wow, but I didn't.
00:07:15
OK, OK. I think there should be Now we
00:07:19
got a rules conversation. I think not finishing should be
00:07:23
allowed, but that can't mean it's like a zero, you know what
00:07:26
I mean? Like if.
00:07:26
Oh yeah, yeah, sure. Maybe you can tap out and just
00:07:29
you just knock it away with like a three, just some sort of flat
00:07:33
score. I mean, I would have found
00:07:35
something to talk about and it wasn't, it wasn't like in
00:07:39
overwhelming Urge, but like in like the first 10-15 minutes it
00:07:45
was just not. I was not vibing with the movie
00:07:47
at all. But I'm glad I stuck it out
00:07:49
because. OK.
00:07:51
It went into some interesting places.
00:07:53
So what? What about this first opening?
00:07:55
15 minutes with such a, with such a turn off I.
00:07:58
Mean it's just the type of movie it is.
00:07:59
It's just like I found myself sitting there watching it and
00:08:03
I'm like, who likes these? He's about criminal underworld.
00:08:13
Well, yeah, but I mean, it's like this one, it tries to give
00:08:19
it this very rounded, realistic look at these types of things,
00:08:25
you know, at this kind of like crime and lifestyle.
00:08:29
But it's like you're seeing it through this very filmic lens.
00:08:32
So, you know, it's like heightened and yeah, it just to
00:08:37
me as a viewer creates such a disconnect.
00:08:41
And it's just, I don't know, I don't think I'm like an overly
00:08:45
sensitive viewer, but it's just a lot of uncomfortable stuff,
00:08:48
especially this one because it's like essentially to give you the
00:08:51
loose framework of the story here, Larry.
00:08:55
Larry Fishburne is. Good old Larry.
00:08:57
Good. Old Larry, He's a cop who is
00:09:02
sent undercover to disrupt a drugs and narcotics syndicate in
00:09:09
LA, and he doesn't want to do it.
00:09:13
Like OK, I'm tired, boss. Exactly.
00:09:19
And like it's funny too, because like there's there's voice over
00:09:24
narration. So it is kind of a noir film and
00:09:26
that's where it starts to get into like the more interesting
00:09:29
aspects of the movie that I did click with.
00:09:32
But it's sort of like a, you know, a modern noir style film.
00:09:36
And so he's doing this voice over and he essentially says
00:09:39
that he was like, you know, they were telling me about this, this
00:09:42
undercover thing. And I was like, man, I don't
00:09:44
want to do that. And then he's saying this like
00:09:46
as he's doing it. And it's like, well, why'd you
00:09:48
do it then? Like what?
00:09:52
Yeah, I mean, I guess I also, I've given things to do at work
00:09:55
that I don't feel like doing, but kind of a weird motivation
00:09:58
for your heroic lead. But it, I mean, it ties into
00:10:02
what his whole character is because basically there is a
00:10:04
flashback at the beginning where like his dad is like a drug
00:10:08
addict and he gets shot trying to like rob a liquor store.
00:10:12
And so, you know, early on, like Laurence Fishburne's character
00:10:15
is like, I've never touched drugs.
00:10:18
I don't even drink. You know, he's like, I promised
00:10:21
myself I'd never get into that kind of stuff, but he's brought
00:10:26
in by this DEA agent and he's the one that tells him like, you
00:10:31
know, we looked at your psychological profile and you're
00:10:33
actually perfect for this type of work.
00:10:36
So I guess they convinced him to do it cuz they convinced him
00:10:38
he's going to be doing a good thing.
00:10:41
But yeah, then I mean, then again, this is like in the first
00:10:47
20-30 minutes of the movie, you're seeing a lot of like
00:10:50
unfortunate imagery of like street crime and like drug abuse
00:10:56
and these these like people in like Skid Row Los Angeles that
00:10:59
are the part like of this like crack epidemic that's going on.
00:11:04
So that was the part of the movie where I was like, I don't
00:11:07
want to two hours of this like you.
00:11:10
Know no, I'm completely with you.
00:11:11
I, I wouldn't have even recommended it if that was if I
00:11:14
knew that was a part of it. Because I will say that over
00:11:16
time I've become increasingly just like bummed out watching
00:11:19
stuff like that, even though it's a part of a lot of good
00:11:23
filmmaking. I I just, I don't like sitting
00:11:26
through it either. Yeah, so I mean, that's just a
00:11:27
personal preference thing. But I did also recognize early
00:11:31
on that the film definitely had a unique style and like voice to
00:11:38
it, which is where Grifters completely fell flat because it
00:11:41
was like unfortunate imagery and, and story with like no
00:11:45
style or substance to it, Whereas Deep Bopper has is like
00:11:50
full of that. I mean, it has like there's
00:11:53
really good filmmaking going on there.
00:11:55
And that's what kind of kept me with it.
00:11:58
You know, like the cinematography is, is excellent
00:12:01
and like stylish, like there's a lot of like unique lighting and
00:12:06
like, you know, the costumes are great.
00:12:11
The performances are strong. Like all of these, like, you
00:12:15
know, technical filmmaking aspects.
00:12:17
It has a lot of the intention behind it.
00:12:20
So it's like, you know, it was really well like directed and
00:12:24
executed in that way. So that's so that is why I was
00:12:27
like, OK, I can at least appreciate this even though I'm
00:12:31
not. This isn't the type of movie I
00:12:33
would normally just throw on to watch basically.
00:12:36
Yeah. OK, that's interesting.
00:12:37
So this is just one of those like, if you're in the mood for
00:12:40
a more kind of serious and heavy adult film experience, you know,
00:12:45
a lot of what I've picked for you so far is very goofy stuff,
00:12:48
and I unintentionally picked a much more harrowing 1.
00:12:52
Which I mean, that's fine in and of itself because at least this
00:12:55
movie I feel like had something to say.
00:12:59
I mean, it was it was, I was looking at the the trivia and it
00:13:02
was released like just weeks before the LA riots.
00:13:06
And so it's very like topical in that sense.
00:13:10
And again, once I kind of recognized the the strong film
00:13:17
making happening, I was looking up like the cinematographer and
00:13:20
the director to kind of see previous things that they've
00:13:23
worked on. And you know, the director, Bill
00:13:27
Duke, a lot of his work centers around like the black
00:13:31
experience. And you know, for Laurence
00:13:33
Fishburne to be the lead of this movie in 1992, like, you know,
00:13:37
it, it definitely was speaking to what was happening in the
00:13:42
real world at the time. But it's just again, it's like
00:13:46
some of it just came off as goofy.
00:13:48
So it's just like there's there was like that weird kind of
00:13:50
disconnect with this violent, like traumatic imagery and like,
00:13:55
like some of the stuff just not landing I think the way they
00:13:57
intended. But I can kind of get more into
00:14:01
that stuff later. But yeah, I mean, Laurence
00:14:05
Fishburne kills it as the lead. Jeff Goldblum.
00:14:08
Don't know if they're presented as Co leads but it you know it
00:14:12
is all from Laurence Fishburne's perspective.
00:14:14
Is Goldblum like the villain or is he another cop guy?
00:14:18
No. Well, they are friends.
00:14:22
They honestly a lot happens in this movie.
00:14:25
There's a lot to like to like recap to to really get into it.
00:14:29
So like Laurence Fishburne, he goes undercover and starts like
00:14:33
selling drugs on the street because they want him to get
00:14:36
closer to these higher ups in this drug syndicate cartel,
00:14:41
whatever the the proper term is. I'm not sure actually.
00:14:46
You guys got one of them Syndicate cartels over here.
00:14:48
He's. Just he's like a really bad
00:14:52
addict. That's a good premise actually.
00:14:54
Is the idea of taking someone who's never done drugs or had
00:14:57
alcohol and trying to make him be like an undercover drug
00:14:59
dealer like that is sort of a comedy premise if you play it
00:15:02
differently? Yeah.
00:15:03
But, you know, what's interesting is, like, I thought
00:15:06
there would be an obvious that's like a setup for, like a scene.
00:15:10
And it kind of happens. You know, I was like, OK, so
00:15:12
there's going to be a scene where they want him to take the
00:15:16
drugs, you know, like, yeah. And there is a scene where
00:15:19
somebody, like, offers him drugs and he's like, not for me.
00:15:23
And they're like, well, this guy's a cop and.
00:15:28
Rather than like, like lay into that tension at all, they're
00:15:31
just like, Nope, definitely a cop.
00:15:33
Yeah. But then they kind of move past
00:15:35
that. He kind of like, he just kind of
00:15:36
like talks his way out of it. So, you know, to jump ahead a
00:15:41
bit, he he does wind up taking drugs later in the movie, but
00:15:45
it's more like because he's at his like breaking point and he
00:15:48
just decides to like he just has a drink at one point.
00:15:52
He's like, this is my first drink.
00:15:54
It's pretty good. Is he announcing it to
00:15:57
everybody? He's.
00:15:58
He's talking, he's talking to another character, he's talking
00:16:01
to the DEA guy. And I was like.
00:16:03
Just out on the corner where he's doing his drug deals, like
00:16:05
just in case you don't know. Hey you guys tried alcohol it's
00:16:09
not bad. Crazy, right?
00:16:11
It was illegal for a while. That, yeah, history lesson.
00:16:24
That's how bad he is. No, he's actually really good at
00:16:27
being an undercover cop. That's the whole thing.
00:16:30
So to answer your previous question, him and Jeff Goldblum,
00:16:33
Jeff Goldblum is like one of the higher ups in this group.
00:16:36
And so he like while he's undercover, gets close to him
00:16:40
and they become friends and they start working together.
00:16:44
And so that's where like that connection comes in.
00:16:48
But you know, Goldblum, he's not as heavily featured in the movie
00:16:51
as Laurence Fishburne is. But it's cuz Laurence Fishburne
00:16:54
has so many like quest lines going on at the same time.
00:16:59
He's doing so many things. Like, you know, it's like every
00:17:03
scene, it's like either him, he's hanging out with Jeff
00:17:05
Goldblum or he's talking to the DEA guy, or he's with like his
00:17:09
love interest in the movie or he's with these other crime
00:17:13
guys. That's not the right word, but
00:17:15
whatever. Crime guy, crime syndicate,
00:17:17
buddies, you know. Yeah, yeah.
00:17:20
So yeah, they're they're friends in the movie.
00:17:22
Goldblum gives a really just Goldblum esque performance, but
00:17:26
he's actually like, honestly probably one of the better
00:17:29
performances I've seen from him. You know, I think it's OK.
00:17:33
Like I think he's especially later in his career, one of
00:17:37
those actors who's almost become like a Flanderized version of
00:17:42
himself. Yeah, I mean, he's basically
00:17:44
been playing the same guy ever since, like Jurassic Park.
00:17:49
Yes, exactly. And this is more so him giving a
00:17:51
real performance. So I was like, well, this is
00:17:54
good. I mean, he's a good actor.
00:17:56
Yeah, I like Jeff Goldblum a lot.
00:17:57
Again, I was hoping we would see like a real performance out of
00:18:00
him in this one. Yes, you definitely do.
00:18:02
Yeah, that's one of the stronger.
00:18:05
Like I said, everything is executed not just well, but
00:18:09
like, stylistically, there's a lot going on here.
00:18:12
And as the plot starts unfolding and, like, layering on itself, I
00:18:17
was like for the second-half of the film, I was like, OK, I'm
00:18:20
with this now I'm interested, like in seeing where this goes
00:18:23
because to like, jump forward a bit, basically, like Orange
00:18:28
Fishburne, you know, he gets pretty deep into this whole
00:18:33
thing. And at one point he's like, you
00:18:35
know, am I a cop pretending to be a drug dealer or am I drug
00:18:40
dealer pretending to be a cop at this point, you know, he's, he's
00:18:42
very like mixed up in, in this world.
00:18:46
But that leads to just some of this is where the like movie
00:18:49
logic stuff starts getting in there.
00:18:52
And I was like, what the heck is happening 'cause there's,
00:18:55
there's one character who I don't know if this was the
00:18:59
movies, like one attempt to like add in some like levity or
00:19:05
comedy, but there was a character who was like, he was
00:19:12
like another drug dealer. He's like one of the like the
00:19:14
street level drug dealers, right?
00:19:16
And the first time you see him, like there's this young kid,
00:19:20
he's like 12 or 13, like selling drugs on the corner.
00:19:22
And this guy comes up to him and he's just like, I told you not
00:19:25
to come around here again. And then the kid like runs away
00:19:28
and the guy just like pulls out a gun and he says like hasta La
00:19:32
Vista baby and he shoots him in the back.
00:19:34
What? That's a new reference at the
00:19:36
time. I know.
00:19:37
And like he, but he didn't say it like he didn't do like an
00:19:40
Arnold accent or anything. He just kind of said it.
00:19:43
And so I didn't really, it didn't really like register that
00:19:45
much to me. I was like, OK, whatever.
00:19:46
He's saying the Terminator thing.
00:19:49
But then later that character comes back and he gets into an
00:19:53
argument with Laurence Fishburne.
00:19:55
Like Laurence Fishburne pulls out a gun and like, he backs off
00:19:58
and he's just like, I'll be back.
00:20:01
I'll be back. And he's like, you seen that
00:20:04
movie? Rent it at your local video
00:20:06
store. And I was like, wait, what?
00:20:07
So he's just always doing this? He's always doing this.
00:20:11
Just a big fan of T2 Judgement Day I.
00:20:14
Guess so. I was like, it didn't click for
00:20:16
me until then. Then I was like, oh, he's always
00:20:19
saying Terminator stuff. But like, again, he's not doing
00:20:22
like the Arnold accent. He's just kind of saying it.
00:20:25
And I was like, what is going on with this guy?
00:20:27
And like, his performance was very exaggerated.
00:20:30
And then like, there's this leads to a scene where after
00:20:34
that interaction, once Fishburne is talking to Jeff Goldblum,
00:20:39
Jeff Goldblum's like, well, we gotta kill that guy.
00:20:41
You know, like, that's just what we gotta do.
00:20:44
And fisherman's like, OK. And then he goes to do it and
00:20:48
I'm like, wait, what? Like, is that allowed for an
00:20:50
undercover cop? You can just go around killing
00:20:52
people. Good question.
00:20:54
Good question. That's gonna have to go in his
00:20:55
report. Yeah, Yeah.
00:20:57
It's gonna be bullets that are like tried alcohol, thumbs up,
00:21:01
shot a guy, question mark. Bullets.
00:21:03
He's just shooting paper. Hasta La Vista paper.
00:21:08
He's like. I do like it.
00:21:10
It is funny, but yeah, even, like, even that seem where he's,
00:21:14
like, forced to kill this guy. It's supposed to be this, like,
00:21:19
dramatic turning point for Laurence Fishburne.
00:21:21
But like, the guy's performance in that scene is also like,
00:21:24
comical in a way. And I'm like, I don't know what
00:21:28
I'm supposed to feel about this character.
00:21:30
I like him, he's interesting, but I don't know what like the
00:21:33
intention is here. This side plot this has, this
00:21:37
has stolen all my attention. This doesn't make any sense to
00:21:40
me at all. Like, why in writing a like,
00:21:43
grounded, kind of demoralizing story about the undercover world
00:21:48
of of drug trafficking, which you specify so heavily that this
00:21:54
guy just loves the recently released film Terminator 2?
00:21:58
Yeah, yeah. Like that.
00:22:00
That's like his persona, but even he doesn't fully commit to
00:22:03
it. He just kind of like bluntly
00:22:04
says the lines. Like he literally said he was
00:22:08
like, go rent the movie. Like.
00:22:09
So he's like, what? It's advertising.
00:22:12
Yeah. Yeah, I don't know.
00:22:15
This movie was released by New Line Cinema, by the way.
00:22:18
I did like seeing that logo right at the.
00:22:20
Beginning well new line. The classic like New Line
00:22:24
Cinema. And Speaking of that, actually
00:22:26
to jump into something else I thought was very funny.
00:22:30
There was a scene, it's actually the scene where Laurence
00:22:32
Fishburne tracks that guy down to kill him.
00:22:36
He goes into a nightclub that this guy's in and there's this
00:22:40
dude performing on stage. And the way that this scene of
00:22:44
the guy on stage is, like the way it's lit, the way it's shot
00:22:49
and everything just reminded me of like Vanilla Ice in the Ninja
00:22:56
Turtles movie in Secret of. Yeah, yeah, even.
00:23:02
Cuz even the way the guy's on stage, like rapping, like the
00:23:04
type of musical performance he's giving is even similar to like
00:23:08
this. Is from the same year as Secret
00:23:10
of the Years. They're both 1992.
00:23:12
Yeah, yeah. I was like, I guess that's just
00:23:15
what like nightclubs looks like thin.
00:23:19
Because I could picture the Vanilla Ice scene very clearly
00:23:22
the kind of like significantly elevated stage and sort of like
00:23:27
just like flat dance floor underneath and very like comes
00:23:29
red. Lighting scheme, yeah, Now just
00:23:32
take that and change absolutely nothing.
00:23:34
And that's what it is. So you want to start there and
00:23:39
then also stop because you're done.
00:23:42
That's it, You've got it now. Go ninja go, ninja, go.
00:23:47
That's what I was picturing and I was like, oh, hey, I'm like,
00:23:49
yeah, like you said, same year, same studio.
00:23:52
Fun piece of trivia if if you like Ninja Turtles too, that
00:23:55
club is called the Dock Shore Club which you see for like 2
00:23:59
frames in that movie because I think Mikey gets thrown through
00:24:02
a door and it says like Dock Shore club this way and then
00:24:05
that's where they go. So that's a cool idea for a club
00:24:08
because it's like built into the side of a dock or something,
00:24:12
like it's right. By water, Yeah.
00:24:13
It's like a pier, which I think is just a story necessity for
00:24:15
Ninja Turtles because they jump out into the water at the end
00:24:18
when they fight Super Shredder. But yeah, maybe it's a real type
00:24:22
of thing. I don't know.
00:24:23
Probably smells bad, though. Like, probably smells bad.
00:24:25
That's exactly what I was thinking.
00:24:26
I was like, hey, you want to go down to the dock?
00:24:28
Shore Club smells like dead fish.
00:24:33
Cool. Things polluted as hell.
00:24:35
Did you try alcohol by the way? Pretty good.
00:24:39
Pretty good, gotta say. So anyway, like big.
00:24:46
Anyway, it's just like like where I don't even know where to
00:24:52
go next with deep cover like. I'm, I'm tempted to say that
00:24:54
like, I know sometimes we really dig into the plots because it
00:24:57
it's really crucial to our thoughts on the movie, but I
00:25:00
don't know that you necessarily need to give the audience
00:25:03
everything because it sounds like if you're in the mood for
00:25:06
that kind of movie, maybe it is fairly good.
00:25:09
Sure. Yeah.
00:25:10
I mean, it's, it's definitely like executed thoughtfully, like
00:25:15
artistically, like it has vision and style and I appreciate all
00:25:21
those things about it. And again, the second-half of
00:25:24
the movie gets pretty interesting, I will say.
00:25:28
Like, the way they get to the climax of the movie feels clunky
00:25:33
to me because this kind of goes back to like, you know, the
00:25:38
movie logic of what being an undercover cop means, I guess
00:25:42
because like, Laurence Fishburne does just go kill that guy.
00:25:46
Like, he just fought. He's in that nightclub, dance
00:25:49
club, whatever, follows him in the bathroom and just shoots
00:25:51
him. And then later he's talking to
00:25:53
his DA boss and he's like, so he killed that guy, huh?
00:25:58
That's cool. Anyway, we're just going to move
00:26:02
on. And then like, there's another
00:26:04
scene he has with that guy later where, and this is where he has
00:26:07
that kind of moment where he's like, not sure what he wants to
00:26:12
do or what he's been doing. Because basically they tell him
00:26:15
they're like, oh, things have changed.
00:26:17
They're like this this guy who's at the head of this organization
00:26:20
that we were trying to take down.
00:26:22
We like him now because we want him to, you know, run for
00:26:25
political office in the country he's from.
00:26:28
But he's the guy that's been bringing these drugs into the
00:26:30
US. So Laurence Fishburne just get
00:26:33
super pissed off. He was like, so this is all for
00:26:35
nothing, whatever. And he's like, basically like I
00:26:38
quit. I'm going to go be a drug dealer
00:26:40
now. I like that better and.
00:26:44
OK, straight to jail. Yeah, I was.
00:26:46
So he was just like. He's just like that out loud.
00:26:49
He's basically like, he's like, that's not how this works.
00:26:52
You can't just do that. And he was like bye.
00:26:54
And that's what he takes the alcohol and he's like pretty
00:26:56
good and so like. Oh, it's that late in the movie.
00:26:59
OK. Yeah, yeah.
00:27:01
And then he goes and he's doing coke or whatever.
00:27:04
And like, so he's like at this point, seemingly fully committed
00:27:08
to this lifestyle. And so I'm watching and I'm
00:27:10
like, OK, so this is, we're leading to some kind of like,
00:27:14
tragic ending for his character where he does fall, you know,
00:27:19
fully into this lifestyle and he's going to die or get
00:27:22
arrested or something. You know, it's like his dad died
00:27:25
because of it. Yeah.
00:27:27
But then at the end of the movie, he's with Jeff Goldblum.
00:27:32
And there's this one detective who's been, like, trying to get
00:27:35
through to Laurence Fishburne because he doesn't know that
00:27:39
he's undercover. He thinks he is just this kind
00:27:41
of drug dealer. And he's been trying to get him
00:27:44
to go straight, basically, and, like, work with the cops.
00:27:47
And, you know, Laurence Fishburne's always blown him off
00:27:49
throughout the whole movie. But then he shows up at the end
00:27:51
while they're trying to do this big drug deal, and Jeff Goldblum
00:27:54
shoots him, shoots Laurence Fishburne's.
00:27:57
Cop friend. It's the nice cop, OK?
00:27:59
Yeah. And, like, Lawrence Fisherman
00:28:01
is, like, distraught over this. And then he's, like telling Jeff
00:28:04
Goldblum he was like, I'm a cop, you're under arrest.
00:28:07
And I'm like, no, you're not Lawrence Fishburn.
00:28:09
You quit. You decide.
00:28:10
You quit. You updated your LinkedIn weeks
00:28:13
ago to say drug dealer. It's like just kind of going
00:28:16
back and forth here. And so that's like how those
00:28:20
two, like, get into conflict with each other at the end.
00:28:23
And then, like, Lawrence Fishburn winds up shooting Jeff
00:28:25
Goldblum and then it just kind of cuts.
00:28:28
And he's like presenting this case of him being undercover.
00:28:34
Like he was like, I don't know, like everything went according
00:28:37
to plan. I was like, I think that's how
00:28:41
this works. But like, you just went and like
00:28:44
killed people and like did all this stuff and walked away from
00:28:48
being a cop or whatever. And then, like, he, like, makes
00:28:51
a deal with the DEA guy. He was like, you're not going to
00:28:55
charge me for anything or whatever.
00:28:57
And I'm going to make sure that, like, you know, I won't talk bad
00:29:00
about your agency. And he's like, OK, bet.
00:29:04
But then, like, the twist reveal at the end is that, like,
00:29:07
Laurence Fishburne had, like, had someone recording this drug
00:29:12
deal with the guy that the DEA decided that they liked and
00:29:18
wanted to, you know, run for office.
00:29:21
And he, like, released that out to the public.
00:29:23
And he was like, ha, gotcha. And then, like, his DEA boss
00:29:26
gets all mad at him. And they're like, in the
00:29:27
courtroom still in North Fishburne, just, like, punches
00:29:30
him in the stomach. And I was like, what are the
00:29:32
rules here? Just do whatever he wants.
00:29:39
That's funny. There's.
00:29:40
Just no consequences for everything, anything he does.
00:29:43
And then he like he had stolen all this money from this drug
00:29:47
dealer guy. And so he walks away like it's
00:29:50
just such a like happy ending for his character.
00:29:53
And then he goes back to finish this, like, adopt A kids side
00:29:57
quest that he started in the beginning of the movie that I
00:29:59
had forgotten about because when he first went undercover, he
00:30:04
was, like, living in this, like, rundown building.
00:30:06
And there was this woman across the hall who had, like, you
00:30:08
know, like a young kid. And she was messed up and
00:30:12
tweaking out the whole time. And he kind of, like, formed a
00:30:14
connection with this kid. This is all in, like, the first
00:30:16
act. And then, like, the movie
00:30:17
completely forgets about it up until, like, the very end when
00:30:21
Fishburne's like, oh, yeah, I got to go get that kid.
00:30:23
And then he does what? I was like, I thought we moved
00:30:27
on from that. Like, I didn't realize that this
00:30:29
kid was still a part of the story.
00:30:31
And that's how the movie ends. And I was.
00:30:33
Like that's so strange. Yeah, yeah.
00:30:36
So it felt a little like I was saying before, for as much like
00:30:39
style and intentionality to intentionality that it had, it
00:30:44
felt a little unfocused with its story because it was trying to
00:30:49
do so much at once, you know, and it wound up trying to, like,
00:30:53
cram a lot in there. You landed on the right
00:30:55
language. It sounds like Laurence
00:30:56
Fishburne is a video game protagonist.
00:30:58
Because if you play something like like Fallout or Elder
00:31:03
Scrolls, one of those like RPGs that's full of quest lines and
00:31:05
different routes you can go down, they all have to resolve
00:31:09
in a way that just pushes you on to the next thing.
00:31:11
Even if theoretically some of these events either contradict
00:31:13
each other or would have like obvious consequences for your
00:31:16
character. But if he's like the main
00:31:19
character of the universe, because it's his video game, he
00:31:21
just, he can't just move on. He's in like using Grand Theft
00:31:23
Auto logic by the end of this movie.
00:31:25
He basically is Speaking of video games too.
00:31:28
It's so funny, the kid that like young boy who he like adopts, I
00:31:32
guess at the end it was like, I don't know if they thought they
00:31:38
maybe couldn't get sort of a dramatic performance out of this
00:31:42
kid because he's really young. So literally every time you see
00:31:46
him, he's playing a Game Boy. And it's like the the old, like
00:31:51
before the Game Boy Color, like the original, like chunky Game
00:31:54
Boy. Oh yeah, yeah.
00:31:55
You know, And he just like has the same blank, like he doesn't
00:31:59
look distraught in any way. He looks like he's just having
00:32:01
the time of his life playing this Game Boy as things are
00:32:04
happening around me and I'm like, he's just like me for
00:32:06
real, but. He's just like, blankly staring
00:32:12
an old prick Game Boy. Just like Man Mondays, Yeah.
00:32:16
It's so funny because I'm just like, this kid doesn't seem to
00:32:20
care about any of this. He's playing Mario or something,
00:32:23
I don't know. But yeah, that's that's a good
00:32:25
way to put it. Laurence Fishburne just moves
00:32:27
through this world with no consequences, does whatever he
00:32:30
wants. And also doesn't seem to let the
00:32:33
audience in on his perspective enough because it feels like he
00:32:37
was like deceiving you into what he wanted to do next.
00:32:41
Yeah, almost because I mean, they're like he has these voice
00:32:45
overs, these very like detective noir style voice overs.
00:32:49
They're kind of intermittent throughout the film.
00:32:52
You know, towards the end, I think there's one maybe right at
00:32:55
the end, but they're sparse. They're you know, they're just
00:32:59
kind of sprinkled throughout. So it's like you are getting a
00:33:02
sense of what he's thinking throughout the movie.
00:33:05
But I mean, even that, like, I guess it was set up, but even
00:33:09
that kind of like big twist at the end where he was like, ha, I
00:33:12
got this guy. I was like, Oh yeah, I guess so.
00:33:15
I mean, you were doing so many other things like I yeah, sure,
00:33:19
we can do that. That's weird.
00:33:21
I don't, I don't know, I just can't visualize the story.
00:33:25
Like there's so many elements going on here.
00:33:27
And like you said, the almost flip flopping nature of it, like
00:33:30
a lot of it was clearly done with intention that I'm just not
00:33:32
following. But sounds like a weird way to
00:33:35
pitch a movie that was trying to be like a somewhat serious like
00:33:39
life of crime and drugs, you know?
00:33:41
Yeah, yeah. And I, and I think it wanted to
00:33:46
do that in a way that it was like entertaining at the same
00:33:52
time, you know, like it didn't want to be too matter of fact
00:33:56
and dour about the whole thing. Which is a this is a problem I
00:34:00
see with a lot of films that try to tackle like serious subjects.
00:34:03
I think I've heard it phrased before is like, you know, there
00:34:06
are no anti war movies because any film that tries to depict
00:34:12
the horrors of war is still sort of glorifying it and that it's
00:34:16
entertaining you with it. And and that kind of undercuts
00:34:19
any sort of messaging the story might have about whether what's
00:34:23
being shown on screen is bad. You know, like you can't
00:34:25
necessarily rely on an audience to make the same inference as
00:34:29
the author that like this is bad.
00:34:30
If you watched it and you're like, that was fun.
00:34:32
Laurence Fishburne shot a guy and drank a bunch of alcohol.
00:34:35
Well. I mean, I, I exactly, I and I
00:34:39
think that's like a similar case has been made for like there's
00:34:43
so many movies where you have like your action cop character
00:34:47
and this isn't, this is more of a kind of crime thriller, but it
00:34:50
still has action elements too. And I mean, you know, that
00:34:54
inspires a lot of people to think that that cops can just do
00:34:58
whatever they want to go around shooting people with no
00:35:00
consequences, You know, like, because that's how they do it in
00:35:03
the movies. I think if the movie ends with
00:35:05
him like sinking into the life of like, like a drug addict and
00:35:10
drug peddler in a way that it's all he has left because he ruins
00:35:13
every other chance he has. Like that's an ending.
00:35:15
And I could see that. But I guess they wanted more of
00:35:19
a wish fulfillment angle. And I don't know.
00:35:22
I mean, we were just complaining.
00:35:23
The opening of the movie was too sad.
00:35:25
Maybe that's what they thought. Well, they wanted to send the
00:35:28
audience home happy is what they wanted to do.
00:35:30
Because I mean, even at one point prior to the ending, like
00:35:33
his love interest in the movie, he kind of sends her away
00:35:36
because he's like, you know, things are getting dangerous
00:35:38
here and he's like, are we done? And she's like, we're done.
00:35:42
If you're still doing this. He's like, she's, you know,
00:35:45
she's like, you can come with me.
00:35:46
But then like the the DEA like picks her up.
00:35:49
Like she's trying to like leave and go to the airport and, you
00:35:52
know, just start a new life somewhere.
00:35:53
But they grab her because she's kind of been involved in this
00:35:55
too. And so like, that's part of the
00:35:59
deal that he makes at the end is like, you know, when I speak to
00:36:02
whoever he was talking to Congress, I guess like someone
00:36:06
like whatever that that was at the end, like he's like, you
00:36:12
know, you got to let her go too. So it's kind of like even like
00:36:16
repairs that relationship at the end as well, like with her.
00:36:20
So it's like everything works out for him.
00:36:21
And it's like, yeah, I feel like that almost isn't the story that
00:36:25
you set up, though, so. So interesting.
00:36:28
It makes me wonder if the trajectory of the, like, third
00:36:33
act was ever different. You know, like if maybe at one
00:36:35
point on the page it was more sad and like a downer, and then
00:36:37
it got changed. Because sometimes I'll think
00:36:39
that and then it'll be like, no, that was the original intention
00:36:41
all along. But definitely seems like a
00:36:44
surprise for how the rest of the film had been set up.
00:36:47
I wouldn't be surprised if this was the original ending in mind,
00:36:51
you know, it felt that way. It's it felt despite like what
00:36:56
felt like clunky elements to me, it didn't feel like an
00:37:00
incomplete story in any way. OK, so it definitely it had an
00:37:06
arc to it and his character went on this journey and was changed
00:37:11
by the end. It just, I guess maybe me
00:37:15
watching it, I thought at some point, like around the middle,
00:37:18
like when he was like, yeah, I'm going to go be a like, I'm done
00:37:21
being a cop. I'm going to go just be a crime
00:37:23
board now. I was like, oh, that's fun.
00:37:24
Let's see where this goes. Like, yeah, OK, this is maybe my
00:37:27
other pending question. Why did he like being a drug
00:37:31
dealer? Like what did the movie show you
00:37:32
that made him a fan of that side of the coin?
00:37:37
So this. Was even like an interesting
00:37:39
conversation he had with his DA boss at one point, because when
00:37:42
they're having that conversation, well, I should say
00:37:45
prior to that you're telling him basically they're like you have
00:37:48
to look the part like, you know, as he moves his way up through
00:37:51
this world, they're like, you know, you got to start dressing
00:37:54
nice and like get a new place and you know, drive around a new
00:37:57
nice car like. And so through his voice over
00:38:01
narration, he was like, well, this is nice.
00:38:02
You know, I'm like a big shot on the streets.
00:38:06
So he's like, that's cool, this. Guy's so simple, you know, he
00:38:09
just lives in the moment. He's just like that.
00:38:11
I had all these like perspectives and hardline rules
00:38:15
for myself, and it turns out cars and booze not.
00:38:18
Bad. Yeah, yeah.
00:38:20
And it's like the other characters even kind of call
00:38:22
them out on that, too. Jeff Goldblum at the end, like
00:38:25
their whole conversation, he's like, I don't care that you're a
00:38:28
cop. We got millions of dollars in
00:38:30
this van. Let's get the hell.
00:38:31
Out of here, you know, like he's.
00:38:33
Just and then when he's talking to the to his, the guy who
00:38:36
brought him in, the DEA guy, he's like, you know, the DEA
00:38:39
guy's trying to tell him he's like, we're done with this whole
00:38:41
operation. You know, let's they're they're
00:38:43
offering us, you know, to go to Washington and and do something
00:38:46
else. There will be big shots there.
00:38:48
Once Fishburn's like, I'm a big shot here.
00:38:50
He's like, I don't need to go do that.
00:38:52
Like I'm. Going to do this that that makes
00:38:54
sense. I wasn't sure if the angle was
00:38:56
like the lore of a life of crime or if there was some other take
00:39:00
on it, like it being the community he had found himself
00:39:03
in. Because those are like the two
00:39:04
versions, you know, you get the the Fast and Furious angle is
00:39:08
like, oh, no, I've become sort of swept up in the found family
00:39:12
of this gang of criminals. And then the other one is like
00:39:15
Scarface, like, oh, I just want to be rich and do crime.
00:39:21
Yeah, no, it was. It was Scarface.
00:39:24
It was OK. Yeah, yeah, yeah.
00:39:25
The world is yours. Yeah, it was not.
00:39:28
Ohana means family. Paul Walker.
00:39:30
It was. I hope someone thinks that's
00:39:33
from Fast and Furious. What is that Lilo and stitch?
00:39:37
Yeah, yeah. No, I mean, as like, as far as I
00:39:43
can tell, at least as far as what the movie presented, which
00:39:46
is almost what made it kind of jarring to like, I was saying
00:39:50
what led to that conclusion where he was so distraught over
00:39:55
this cop who was like trying to set him on the right path.
00:39:59
But, you know, it was like his like, obviously it was like his
00:40:02
conscience. You know, he was like, OK, like
00:40:04
I have, I've gone too deep. You know, deep cover if you.
00:40:08
Will deep cover? So it made sense in that way,
00:40:14
which is again what makes me think you know this.
00:40:16
This didn't, it didn't feel like there was holes in this plot.
00:40:19
It felt like it went where it wanted to go, but it was it was
00:40:26
like wish fulfillment along the way, so.
00:40:29
I'm very curious toward the end of our show what this is going
00:40:32
to do to your score for the movie, because this feels like a
00:40:35
toss up between how much you liked the ride versus what you
00:40:40
thought of, like the validity of that as an ending.
00:40:44
I mean, the ending there's actually so in the in the scene
00:40:49
where Lord Fishburne winds up shooting Jeff Goldblum
00:40:53
throughout the movie, they kind of again, this is another like
00:40:56
light attempt at like I guess comedy or levity, but they're
00:41:00
kind of having this back and forth conversation in different
00:41:03
scenes throughout the movie about like they're like, oh,
00:41:05
what's the weirdest thing you've ever done sexually?
00:41:09
Oh. OK.
00:41:10
It's fine. It's it's light hearted, you
00:41:12
know, it's, it's whatever. It's just to kind of show their
00:41:14
friendship. And Jeff Goldblum brings that
00:41:18
line back, you know, while he's trying to, like, diffuse the
00:41:22
situation between them. At the end, he's like, what'd
00:41:24
you say? The weirdest thing you ever did
00:41:25
sexually was. And Laurence Fishburne's like,
00:41:28
man, nothing seems that weird anymore.
00:41:29
I was like, that's a good line. And also how I feel about this
00:41:32
movie because like, what do we? Like that, I must say your your
00:41:40
skills as a film reviewer are growing because that is such a
00:41:42
funny button to sum up your thoughts on.
00:41:47
Yeah, just like, all right, whatever you want to do, movie
00:41:51
you, you're in charge. You know what, I almost tapped
00:41:54
out at the beginning, but by staying I feel like I've sort of
00:41:57
consented to whatever this is. We've all grown and tried booze
00:42:01
a long. Way yeah, that's the smash got
00:42:05
to you during the second act. Like you're just opening up like
00:42:08
a bottle of liquor. Like what the heck if Larry can
00:42:11
do it. This one's for you, Larry. 41
00:42:17
out on the couch. 41 out. OK, well, I'm I'm at a loss for
00:42:22
words, to be honest. About to cover.
00:42:24
But why don't we kick it over to our intermission and when we
00:42:27
return, we can go from talking about a film about crime to a
00:42:31
film starring a man accused of a crime.
00:42:33
Just stay tuned for Woody Allen, everybody.
00:42:37
Woody Allen's the name of the movie.
00:42:39
Yeah. Oh yeah.
00:42:39
I. Didn't say that, I tuned for
00:42:44
Everyone says I Love You starring alleged criminal.
00:42:47
What do you have? OK so Frank, we're back from the
00:43:00
intermission, but something funny has happened.
00:43:03
The audience just heard our deep cover review.
00:43:06
For them it was a few seconds ago, but for you and I it has
00:43:09
been 4 weeks. Yep, we time traveled.
00:43:13
Here if you could you tell the folks at home why it's been 4
00:43:17
weeks since we talked about this?
00:43:19
The future is bleak, humanity has collapsed, but this podcast
00:43:23
is still going. Yeah, Yep, Skynet has risen.
00:43:26
They like the show. They.
00:43:27
Liked it, kept us around. That's all right.
00:43:31
They were, they were knocking down doors and they were like,
00:43:33
hold on. Hang on a.
00:43:34
Second, I like this one. We're on to something here
00:43:37
anyway. Yeah, what was the question?
00:43:39
Why are we doing? This out it's been 4 weeks since
00:43:42
you and I originally recorded the second-half of this episode
00:43:45
where we talked about Woody Allen's Everyone Says I love
00:43:48
you, but due to a technical issue that audio got severely
00:43:51
corrupted. There's not really a good reason
00:43:54
for it. Essentially you and I that day
00:43:56
spoke for like such a long time before we started and then did
00:43:59
the whole episode that my computer started overheating.
00:44:03
So my audio on my end was captured.
00:44:05
Yours is fine. My audio was captured and it
00:44:08
showed me the waveform, so I thought it was fine, but then I
00:44:10
listened back to it and it sounded like I was speaking from
00:44:12
like inside a toaster. It was just like severe data
00:44:15
loss from my feed specifically. So, Frank, what did we say to
00:44:24
Woody Allen doing? You know, a long time ago.
00:44:33
Yeah, I think, I think you, you loved it.
00:44:35
You gave it like a 12 out of 10. Yeah. 2 out of 10, Like yeah.
00:44:41
Essentially, why did you ask me to watch a Woody Allen musical?
00:44:45
AKA what? What did I do to hurt you?
00:44:50
That sounds like the name of the musical, actually.
00:44:52
Oh, yeah. But we we talked about it in the
00:44:57
episode. But like, I think more so
00:44:58
coincidentally than anything else, we hadn't really seen.
00:45:00
Neither of us had seen in any of Woody Allen's films, right?
00:45:05
And it was just interesting to me that this one was a musical.
00:45:09
There was something else we hadn't done on the show before.
00:45:11
So I was like a Woody Allen musical.
00:45:13
And it had a great ensemble cast.
00:45:15
So yeah, I was just like all of. That is true.
00:45:18
That these are all and that's where the praise ends, I think
00:45:21
is. That is where the praise ends.
00:45:26
So to make a Long story short, I didn't like it it it is an
00:45:31
interesting movie. It is the classic Woody Allen
00:45:34
ensemble cast story told in much the same way as a lot of his
00:45:38
other more famous works. The gimmick of it being a
00:45:41
musical is both the most interesting thing about it and
00:45:44
the most frustrating. Because as I talked about in the
00:45:46
full recording, Woody Allen did this weird bit where he brought
00:45:49
in actors who are not trained singers and also had some who
00:45:54
could sing and kind of told them to sing poorly on purpose.
00:45:57
The gimmick with everyone says I love You, is it supposed to be
00:46:00
kind of like everyday people having the musical experience of
00:46:04
breaking into song to express, you know, how they feel because
00:46:09
the feeling is so powerful. And they do this by having folks
00:46:12
perform a lot of old music from like 30s and 40s musicals or old
00:46:16
jazz standards. So no, no original music was
00:46:19
written for this movie. It is essentially a cover album
00:46:22
from people who don't know how to sing, which Woody Allen
00:46:24
thought was really cool and I think annoyed the heck out of
00:46:28
me. Oh yeah, that yeah, that would
00:46:29
annoy me too. That's such a like, I mean, I
00:46:32
guess I understand the artistic intention behind that, but like
00:46:36
in in practice, that's terrible. This definitely feels like
00:46:39
something you get away with because you've already made like
00:46:42
12 really popular movies and won a bunch of awards.
00:46:44
Like no first time writer director is going to get this
00:46:48
pitch off the ground because it's just not.
00:46:51
It's so much better on paper as a funny little thought exercise
00:46:53
than as a movie that's almost two hours long.
00:46:57
Yeah, yeah. So it's interesting.
00:46:59
We do get the ensemble cast. The story is about this extended
00:47:03
family of like New York socialite type people.
00:47:06
Woody Allen is the father of this teenage girl called DJ.
00:47:12
She's like the narrator for the whole story and she explains
00:47:16
that she lives with her mother, her stepfather, and then both
00:47:19
her siblings from her mom's first marriage and her step
00:47:21
siblings. So it's kind of just this one
00:47:23
big dysfunctional family all dealing with different little
00:47:26
vignettes and stories about falling in love and how they
00:47:29
feel about it. And so we get series of
00:47:31
different numbers. Again, all covers of existing
00:47:33
music. I think the most notable one
00:47:36
that gets repeated in this movie is I'm Through With Love, which
00:47:40
was sung by Marilyn Monroe and Some Like It Hot and as I talked
00:47:43
about in the episode by Mary Jane Watson in Spider Man 3.
00:47:48
Yeah, yeah. Kirsten Dunst.
00:47:50
Kirsten Dunst. The cast is interesting.
00:47:53
We have like a young Edward Norton and Drew Barrymore.
00:47:56
Tim Roth is in it. Some of the more accomplished
00:47:58
actors at the time was like Alan Alda is there.
00:48:01
The thing that also dragged the movie down for me is that Woody
00:48:03
Allen is in fact in it, like all of his movies.
00:48:07
And as we talked about previous, Woody Allen reputation is shot.
00:48:11
I think a lot of people who were watching stuff at the time gave
00:48:14
him a benefit of the doubt. But this story in particular is
00:48:18
about Woody Allen's character deceiving this woman who's like
00:48:22
25 years younger than him and trying to fall in love with him.
00:48:26
And it just is such an analog to like the real life weirdness of
00:48:30
Woody Allen. And he's playing it so much just
00:48:32
as himself that I had a hard time separating it and it just
00:48:36
made me dislike him the moment the story begins.
00:48:38
And he never won me back. Yeah.
00:48:40
And is he, is he supposed to be an unlikeable character in the
00:48:43
movie too? I don't really.
00:48:44
I don't think so. I think he thinks he's he's he's
00:48:47
supposed to be neurotic because the like dialogue style that I
00:48:51
think Woody Allen really featured heavily in a lot of his
00:48:54
movies is this like constantly talking, kind of like yapping
00:48:58
dialogue where you're just over explaining everything and
00:49:01
there's a lot of overlapping chatter between different groups
00:49:03
of characters. I mean, there's a scene in this
00:49:05
one everyone says I love You where there's like a family
00:49:08
dinner going wrong and there's like 8 different people talking
00:49:10
at once in a scene that carries on that bit for like a minute of
00:49:14
screen time. It's such a long time to be
00:49:17
doing that, that it just gets grating so quickly.
00:49:20
And I don't know, I just, I'm the wrong audience for this
00:49:24
Woody Allen movie. I, I like musicals a lot.
00:49:27
I wish I could have liked this one more, but everything about
00:49:30
it, it was like uniquely frustrating for me to watch.
00:49:34
Yeah. And I mean, I also didn't
00:49:35
realize when I picked it that it was again, we had four weeks.
00:49:39
I didn't look up the term for this, but when it's when it's a
00:49:44
musical that is using existing music.
00:49:49
Like I don't know if there is a specific.
00:49:50
Term for that. But.
00:49:51
A more well known example that was good was like Moulin Rouge.
00:49:54
Moulin Rouge uses real music sung by new performers and kind
00:49:57
of added in the context of a different story.
00:49:59
Which hot take? That movie annoys me too.
00:50:02
Just interesting. Show some shade at Moulin Rouge
00:50:04
while we're here. Secret bonus episode Moulin
00:50:06
Rouge. But you know, yeah, Boulin
00:50:10
Rouge. Tell me about it.
00:50:13
So Moulin movie. I didn't really feel anything
00:50:16
for it. I but at the same time, I can't
00:50:19
knock it as being like poorly put together.
00:50:21
I mean, it's just a classic Woody Allen thing.
00:50:23
And I think a lot of the dialogue, if you liked his other
00:50:26
movies up till that point would still resonate here because it's
00:50:28
not like it's worse. It I mean, I haven't seen them,
00:50:30
but it doesn't seem like it'd be any worse than his other movies.
00:50:33
So I believe that at the end of the day, when we moved into our
00:50:36
closing, I gave Woody Allen's Everyone says I love you a three
00:50:40
out of 10. Let the record confirm because I
00:50:42
actually don't remember. A well earned 3 out of 10.
00:50:46
Well earned. I mean, I was hesitant.
00:50:48
I tried to go higher, I think. And you were like, no, no, no,
00:50:50
don't give him too much benefit of the doubt because like I
00:50:53
said, I did a bad job here. I was like, I don't like this
00:50:55
guy. He reads as creepy to me.
00:50:57
And this movie he made reads as creepy to me.
00:51:00
Yeah, I mean, whatever the scores are just based on
00:51:03
whatever you feel so. So it's a 3 out of 10.
00:51:06
It's not like to get lower than that would have to be like
00:51:08
approaching like this was just not a movie like not put
00:51:12
together properly or something. Really, really noticeably absent
00:51:15
to get A1 or A2. So what do you all got a three
00:51:18
out of 10? Frank, do you recall what you
00:51:20
gave deep cover? Because that that's the part of
00:51:23
the review that people heard unedited from when we first
00:51:25
spoke about it. Oh, I didn't know there would be
00:51:29
a quiz. I don't remember when I came
00:51:33
deep cover. You gave deep cover A5 out of
00:51:35
10. Oh, thanks.
00:51:36
So you knew. You knew the whole time I.
00:51:39
Was just trying to throw to you about it.
00:51:40
As I recall, you told me that you thought Deep Cover was
00:51:43
really well directed and put together, but then again, it
00:51:46
just kind of wasn't really your speed and that you thought it
00:51:49
was fine, but nothing like that really hooked you.
00:51:52
Yeah, no deep cover like executed like a lot of the
00:51:57
technical elements really well. I really liked the
00:51:59
cinematography and like the performances.
00:52:01
And I mean, honestly, it kind of like is is one of the movies of
00:52:06
all the ones we've done on this show that like I remember the
00:52:09
most fondly maybe, even though I didn't score it very high.
00:52:12
That's interesting. I think we're gonna at some
00:52:14
point probably do a bit of a retrospective on everything, and
00:52:17
I wonder if our thoughts about any of these will change because
00:52:19
this is our first time looking backwards at what we thought at
00:52:21
the time. Yeah, yeah.
00:52:23
But yeah, no deep cover. Like I don't know.
00:52:26
And I tend to skew more positive, so it's like I get
00:52:28
further away from it. I think I am more so just
00:52:30
remembering the things I did like about it as opposed to the
00:52:32
things that may have like turned me off.
00:52:35
That's interesting. That does mean that I win the
00:52:39
episode because the movie I recommended to you got a better
00:52:41
score than the one you gave to me.
00:52:43
And I think at this point, again, we're we're kind of in
00:52:45
the future. We just finished recording
00:52:47
Episode 7. But as of the end of this
00:52:49
episode that you're hearing now, Frank, I think I'm ahead in the
00:52:51
season 1 standings by like 4 points.
00:52:55
Not a lot. It's a close game.
00:52:56
Yeah, stay tuned. I think I win every other
00:52:59
episode after this, so you know. I kind of really like those
00:53:04
episodes a lot better. So in order to set that up for
00:53:09
episode 6, where apparently Frank wins because I won this
00:53:13
time, I got to go 1st, and I asked you to watch 1991's Doc
00:53:17
Hollywood, a comedy drama of sorts starring Michael J Fox.
00:53:23
Yeah, I can't wait to watch Doc Hollywood.
00:53:25
I can't wait to have already seen and reviewed.
00:53:29
Let me tell you that doc. He's so Hollywood, so Hollywood,
00:53:33
you wouldn't believe it. Yes, I picked that one out
00:53:36
because I like Michael J Fox. I have not seen him do much
00:53:39
outside of Back to the Future, his most famous stuff.
00:53:42
But I did watch a whole documentary recently about his
00:53:44
life in dealing with Parkinson's and how it affected his career
00:53:47
as an actor. And I just thought, I don't
00:53:49
know, he's just a very likable performer.
00:53:51
And I thought that this one would be kind of in the spirit
00:53:53
of, like, Welcome Home, Roxy Carmichael, the first movie I
00:53:56
had you watch, just a just a kind of 90s comedy that they
00:53:58
don't really make any more. Yeah.
00:54:00
Totally, and I won't spoil what I thought of it.
00:54:02
Yeah, 11 out of 10. So what did you ask me to watch
00:54:06
for our upcoming episode 6 You. Keep asking me these questions
00:54:09
that that you know the. Answers Come on Jackal Jackal.
00:54:13
You watch Bruce Willis and Richard Gere in 1997's Jackal, a
00:54:18
loose remake of the 70s film Day of the Jackal.
00:54:22
Yes, yes, which I picked. Because.
00:54:26
Because Bruce Willis. Mostly because Bruce Willis.
00:54:29
Yeah. I mean, we don't know a lot
00:54:31
about these movies because we haven't seen them.
00:54:32
So actor pairings is is often a key ingredient.
00:54:35
I do want to immortalize, for the record, that we had a funny
00:54:38
thing happened when this first conversation happened.
00:54:41
You actually selected a movie for me to watch that I had seen
00:54:44
before. You wanted me to watch a Michael
00:54:46
Douglas movie called The Game from the same year, I think, and
00:54:49
we had to hit the big whammy button because I had already
00:54:52
seen it. Yeah, yeah, that and the game
00:54:54
would have been a good choice that that the Jackal was my.
00:54:56
That's what I said. Backup choice, yeah.
00:54:59
Yeah, I, I, I said it on the air and you you would have heard it
00:55:02
in the full recording. But if I had been given the
00:55:04
game, given what I know about actually having seen it
00:55:06
previous, it would have been like a nine out of 10.
00:55:08
It's such a fun movie. So if anyone has not seen the
00:55:10
game, it's very fun, but unfortunately not show eligible.
00:55:15
So instead we're going to watch Jackal or I'm going to watch
00:55:18
Jackal, and hopefully even better.
00:55:21
Yeah, I assume so. Why not?
00:55:23
I assume so. We already talked about it, so
00:55:25
we know, but you're gonna have to come back in two weeks to
00:55:29
find out. Again, thank you so much for
00:55:31
listening to the episode. Our apologies for the technical
00:55:33
difficulties, but hopefully you got what you came for and we
00:55:36
will see you in two weeks. Bye.
00:55:40
Yeah, yeah, yeah. Bye.
00:55:42
Bye. Thank you for listening to our
00:55:57
show. Before we go tonight, I wanted
00:55:59
to give some additional updates about screenings for Nate and
00:56:02
Mariah in Venice, the film that Frank is Co producer on that is
00:56:05
currently on its Film Festival circuit tour.
00:56:08
We talked about this previously back in episode 3, but it's
00:56:11
coming up again now. The film is available to stream
00:56:13
digitally as part of the Richmond International Film
00:56:16
Festival beginning on September 23rd.
00:56:18
That's next week. You can actually buy your
00:56:20
tickets now for $5 in order to access the film during the time
00:56:23
it's screening at the festival. Again, more information on these
00:56:26
screenings can be found at the Sardonic Pictures website,
00:56:29
sardonicmp.com. The new announcement that we
00:56:33
have for tonight's episode is that the film is also screening
00:56:36
at the Glendale International Film Festival on Saturday,
00:56:39
September 27th. Again, that one's coming up very
00:56:42
soon. Tickets are on sale now, so
00:56:44
check out Sardonic mp.com, which is LinkedIn the description for
00:56:48
this episode. If you enjoyed tonight's show,
00:56:51
make sure to give it a rating, leave a comment, share it with a
00:56:53
friend, all the usual stuff. We also, as mentioned
00:56:56
previously, are on social media. You can find us on Instagram at
00:57:00
Meet Your Double Feature and on Blue Sky at Mydfpod.
00:57:04
Thanks again for joining us. We'll be back in two weeks with
00:57:07
our next episode of Meet Your Double Feature.
00:57:18
Coming up next, It's The Jackal, followed by Doc Hollywood on
00:57:24
Meet Your Double Feature.