A rare one, but a good one: A NIGHT IN HEAVEN starring Christopher Atkins and Lesley Ann Warren from 1983
Welcome to another edition of "THE MOST LITERAL FILM TITLE EVER"! Yeah, it is really that literal. It happens one night in a bar called "Heaven". Watching this film, you'd think every chain bar/restaurant opens its doors to male strippers every weeknight but in Florida, that seems to be the case.
You'd never believe that the guy who made ROCKY 5 made this honestly... Oh, and THE KARATE KID. And THE KARATE KID PART II. Oh, and ROCKY, can't forget that one. Yeah, strap in, it's one weird and wild ride for all you John G. Avildsen fans.
Unveiling Cinema's Hidden Gems: A Night in Heaven
Laura: Well, hello there. Welcome to On the BiTTE, the podcast that uncovers full frontal male nudity in cinema. My name is Laura, and I am joined by my dancing co star, Ryan.
Ryan: I do like to dance.
Laura: He likes to dance.
Ryan: Mhm. Gyrate, wiggle about. Fucking. Thrust my pelvis into a, uh, face.
Laura: Absolutely.
Ryan: I was gonna say an orifice, but that's not really what I'm doing. I'm just. I'm dancing.
Laura: That is assault.
Ryan: No, they asked for it.
Laura: I'm sure they did.
Ryan: It was requested.
Laura: Well, what else was requested was the 1983 romantic drama, a night in heaven.
Ryan: Terrible segue. Awful.
Laura: You know why? Because it's a lie. No one asked for this.
Ryan: No one asked for it. No one can get a copy of it. No, it's. Yeah, this is obscure, and it shouldn't be obscure. It's from a very, uh. Uh. It's from a director who is. Who is, uh. Uh. I mean, I'd say he had a spotty career, but, like, he had, like, one mass. Like, two massive hits.
Laura: Three.
Ryan: Three. What's the third one?
Laura: Well, he did karate kid, part two.
Ryan: No, it's not a good movie.
Laura: Not a hit.
Ryan: I think. I think. I'm thinking. I'm thinking in terms of quality. Um, anyway, uh, yeah, no, he's a. He's got a couple of goodies. And it depends on whether or not we think this is a goodie or not. I think in terms of, like, actual critique, it's maybe not a goodie, but it's a lot of fun.
Laura: This movie is a hell of a lot of fun.
Ryan: So stupid.
Laura: It stars Christopher Atkins as Rick and Leslie Ann Warren as Faye. There's other people in this movie, too, but these are the ones I. I care about.
Ryan: They are the only ones you care about.
Laura: Christopher Atkins. I was asking you while we were watching this film if you remembered where you'd seen him before.
Ryan: No, I'm surprised that I couldn't remember. Cause I do recognize his face. But you're gonna tell me now, right?
Laura: Blue lagoon?
Ryan: I don't think I've ever seen Blue Lagoon.
Laura: Oh, really?
Ryan: Yeah, really? No. So I have. I don't know, then. Yeah.
Laura: Cause this is not the first time we've seen this man naked. I. And the time before he was underage, I'm pretty sure.
Ryan: Oh, wow. I can't wait to cover that one. Yeah. Um, okay.
Laura: And Leslie Ann Warren, of course, is in clue and color of night, obviously.
Ryan: Yeah. Yeah.
Laura: I love her.
Ryan: Yeah. She's in a bunch of stuff. Um, okay.
Laura: Okay, so let me toss you the synopsis from letterboxd, which is so long.
Ryan: I can't wait.
Laura: It's so long. Okay. Yeah.
Ryan: I can't wait.
Laura: Faye Hanlon is a community college professor with an emotionally depressed husband and an abundance of sexual frustration. Her sister drags her to a male strip club for a girl's night out, where she discovers that one of the dancers is her failing student, Rick Monroe, aka Ricky the rocket. A, uh, heated affair between teacher and student ensues as Faye struggles to reconcile her emotions and make consequential life choices, continue her lustful sessions with the studly but shallow teen stripper, or break it off with Ricky and work to salvage her marriage to the loving but distant husband.
Ryan: Right. God, that's a mouthful.
Laura: Um, interesting, because it's nothing as though she has a. I guess maybe she has a choice, but. Well, I guess we can go into that later.
Ryan: I think everyone has a choice, really.
Laura: Um, and I wouldn't call it, it's not the husband's fault, really. It doesn't seem.
Ryan: I mean, I will say, like, everyone's a little one dimensional, as in, you know, Ricky plays his part pretty much as the cad who's kind of. Yeah, he's like a. Kind of a bit of a womanizer, but he's very. Again, he's very kind of surface level. Same with her, same with the wife. She's a little surface level and kind of the same with the husband. To the point where you're kind of like, I don't know about this guy. Like, I think he's having a fucking nervous breakdown.
Laura: He is. And he's probably the most interesting character out of everyone.
Ryan: Yeah, probably because he is having a nervous breakdown.
Laura: Well, his job. He worked at Kennedy space Center. He's a rocket man, and he lost his job.
Ryan: And she's jumping from rocket man to rocket man, basically.
Laura: Yeah.
Ryan: Except he,
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Ryan: like, he deals with actual rockets. Like, he works at NASA. Like, he cycles to Kennedy space center.
Laura: Every morning, every day on a bicycle that goes up to 50 long. Bike made.
Ryan: Yes. Oh, it's a bike he made.
Laura: Yeah, he created one and he was gonna sell them.
Ryan: How, uh. The fuck do you lose your job at NASA? Like, you don't like. People don't just get fired from NASA. Like, it just. It doesn't happen. There's only so many people qualified in the world to work at NASA. How the fuck do you get fired from NASA?
Laura: Okay, let me just jump back again. I'm gonna tell you the tagline of the film, and then I want you to talk about the director because I want to talk about this movie for UMDh. Um, twelve and a half hours. So it's gonna be a long one.
Ryan: Oh, is it?
Laura: Oh, okay. The tagline is in class. He's just another face in the crowd in heaven, the hottest dance club in town. He's the main attraction.
Ryan: We only go to heaven once.
Laura: And it seems like they're a traveling show because they go from Orlando to Tampa.
Ryan: It's like the most literal title ever.
Laura: If you are. I love doing Florida movies. We like to do Florida movies and Scotland movies. Yeah, we've got a thing.
Ryan: I wonder why the two main places where we lived and spent most of our time. We have a thing for.
Laura: We have a thing for these places. And if there's anyone listening from south Florida. Flanagan's is a popular kind of chain of restaurants. A laden, uh, Miller's ale house or a sports bar type familiar thing. Everything's deep fried and you get a big old cup of beer.
Ryan: It's like paddy wagons, isn't it? It's like that sort of thing.
Laura: Yeah. So I just am thinking about this group of 20 something strippers going and dancing at a flanagan's. And that's so gross to me.
Ryan: Yeah. It does kind of make you think.
Laura: Imagine a bunch of dancers, like at an applebee's. Like, what's happening?
Ryan: I guess. Or like a Chuck e. Cheese.
Laura: Well, no, like near the ball pit.
Ryan: Yeah. Uh, yeah, with the. With the robots. Um, no. Um, I think, yeah, it's a traveling. It's a traveling show. And. Yeah, like I said, it's very. It's a very literal title because it's just. It's literally just like, oh, we went out this one night to this place called heaven.
Laura: Absolutely.
Ryan: You know, and that's how everything changed. And our one dimensional lives continued to be one dimensional.
Laura: Um, okay, tell me about John.
Ryan: John G. Adveltson. People, um, should recognize this name. Yeah. Like he was a. He was a staple of, uh, american directing through the. Through the seventies. And he's best known for directing Rocky, which is obviously Stallone's, like, breakout hit. It's his written script that he did when he was poor and then starred in and obviously became the idol that we know today. Um, and Rocky was a huge hit for Advelson. He won best directing Oscar. It also won best film of that year, which was 1976.
Laura: Gross.
Ryan: And he also won, uh, the director's guild award for that film. It's his most celebrated film.
Laura: Yes.
Ryan: And that's kinda it because for the most part.
Laura: That's not true, Ryan. That's not true. Go on. Sorry.
Ryan: He's also known for directing. Well, they say the first three karate kid films, but that's the ones with Ralph Macchio, right?
Laura: Indeed.
Ryan: There's not a fourth one with Ralph Macchio, is there?
Laura: There's the next karate kidde. And then they made it.
Ryan: That was not with Ralph Macchio. That was with a girl. That was. What was her name?
Laura: Wasn't it swank?
Ryan: I think it was Hilary Swank. Right. Yeah. So, right. That's slightly different.
Laura: And then they remade it.
Ryan: But obviously that's with Jackie Chan and one of Will Smith's children. Um, is it Jaiden, Jaden Smith? Probably. Um, yeah. And then obviously you've got Cobra Kai and all that sort of thing. Like, it's a whole. It's a whole franchise, basically.
Laura: I love Cobra kai.
Ryan: Karai kiddeh is a good movie. Um, very much in the same vein as Rocky for the most part. I mean, that's kind of what it.
Laura: Is without the sexual fear that rocky.
Ryan: You keep on saying this, but that's what it was like back then.
Laura: That's not okay. That is not okay.
Ryan: It was the 1970s.
Laura: No.
Ryan: You know, he doesn't force her into anything.
Laura: He forces her to stay in that room with him.
Ryan: Rocky.
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Laura: And he's a scary man.
Ryan: Rocky loves Adrian with all his heart and takes her from the timid flower that she is into the blossoming. Um. What does she get? What's the other? Hibiscus. The hibiscus and bloom that she ends up becoming? Um. Yeah, no, they loved each other. Laura, you need to watch all the rest of the movies.
Laura: I have.
Ryan: Well, Adelson directed another one of the Rocky movies later. It was called Rocky five. It's also one of the worst films ever made. Yeah, it's got a terrible message as well. It's awful. So other than he wins. He wins big for Rocky. He's also nominated for the Razzie award at least three times for worst director.
Laura: Including this one.
Ryan: Including, um.
Laura: Or actually, he might not have.
Ryan: It's not this one. No. It's the formula. It's karate kid three and Rocky five.
Laura: Okay.
Ryan: Which is funny, because karate kid three. In Rocky five, he did back to back. So he got back to back nominations for the Razzie.
Laura: Nice.
Ryan: But let's be respectful to the man. He died in 2017, and he made his last film in 1999. And let's be honest, he has actually made some pretty decent films. And to be honest, a night in heaven is actually pretty decent.
Laura: Yay.
Ryan: It's pretty funny. Um, hell yeah. He's got quite an extensive filmography. We'll kind of go into it. Um, turn to love from 69. Guess what we learned in school today from 1970. Joe in 1970 as well, where he was also the dop. And you will see that he acts as a camera operator, um, as well on some of his pictures. Um, cry uncle from 1971. Ok. Bill from 1971, the stoolie from 1972, save the Tiger 73, foreplay from 75. WW and the Dixie Dance Kings from 1975, Ben Rocky in 76, slow dancing in the big city 78, the formula 1980, neighbors 81, traveling hopefully 1982. Now, I put deflection on that because that's what I thought it was going to be titled. It should have been traveling, hopefully. Question mark. Um, a night in heaven comes out in 83. And then immediately after that we have the karate Kid 84, karate Kid 286, happy New Year 87 for keeps 88, lean on me in 1989, karate Kid three in 89, Rocky 519. 90, the power of one in 92. 8 seconds in 94. And in inferno 99, which was his.
Laura: Final film, Inferno had Jean Claude Van Damme. Right.
Ryan: Maybe. I don't know if I've seen it.
Laura: Me either.
Ryan: I'm not, uh, contrary to belief, I am not an aficionado of the advertisen filmography. Um, other than I like Rocky, but I don't think Rocky is as good as rocky. Uh, three.
Laura: I don't really have a comment on that. I'm sure any of them are better than the first one. Cause it freaks me out.
Ryan: I don't know. I don't know.
Laura: Sorry.
Ryan: Yeah, I don't know. What, you don't like the music from Frank Stallone? It's all littered through.
Laura: I do love. No. Oh, sorry, I got really loud. I. Frank Stallone.
Ryan: Uh-huh.
Laura: I do not agree with the things he posts on the Internet, but I love some Frank Stallone music.
Ryan: The music's good.
Laura: Separate the man from the politics. I'm interested, I want to. I put on Frank Stallone has many, many songs in my favorited song list. So. Yeah, hell yeah, Frank.
Ryan: And obviously, I don't want to discredit the fact that, like, you know, there are certain people out there that we have met and we've been like, oh, my God, that person's a legend. We quite understand them, but it's very difficult to remove them from the politics, unfortunately. So we're not saying that. It's like that time we met big, uh, Terry.
Laura: Oh, uh, when we met mister.
Ryan: Hogan.
Laura: Hulk Hogan.
Ryan: Hulk Hogan.
Laura: And then a week or maybe two weeks later, he ripped his shirt off at the RNC and I wanted to cry.
Ryan: Yeah, it wasn't good. It wasn't good at all. Shook his hands and everything. I was just saying, oh, no.
Laura: We'Ve probably talked about this before, how we invited you.
Ryan: We probably brought it up.
Laura: He invited us to karaoke and stuff.
Ryan: He did, yeah.
Laura: Um, not. Cause we're special. He's just a businessman.
Ryan: Yeah. He's trying to make money. Um, like they all are, let's be honest. Anyway, um, let's get back to a night in heaven where people are making money, taking their clothes off.
Laura: This is not as sweaty of a film as normally you would see in Florida. Did you notice that? In the club? Little sweaty, but not too much.
Ryan: No, it was. Yeah, it wasn't. Yeah, certainly. Like, if you look at, like, levels of. Of wetness in films. Um, um. Like, I put. I put alien up there. I
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Ryan: put, um, um, uh, body heat up there.
Laura: Oh, my God. Florida.
Ryan: Yeah. But body heat, like body heat is. Is identified by its heat factor. Anything that has it, like, I would say, do the right thing is a film that definitely has heat. And temperature is one of its identifying thematic things that kind of, you know, cut its way through the film. And body heat is also one of them. Um, obviously two very different films with two very different messages. But, uh, a bit. Yeah, just a little bit. And alien's just wet because it's wet.
Laura: Great explanation for that one.
Ryan: Harry Dean Stanton's pretty wetland in that movie.
Laura: You know, the.
Ryan: Nevermind.
Laura: Uh, Leslie Ann Warren. This movie's pretty horny, though, and I appreciate that.
Ryan: Maybe a little too horny.
Laura: Never.
Ryan: Well, it can't ever be too horny.
Laura: No.
Ryan: Yeah.
Laura: Sorry.
Ryan: Well, I guess it all comes down to context. You know what I mean?
Laura: Um. Um. I'm sorry. Okay. Uh. Yon Hammer. Yon Hammer did the music, which I was screaming about because. Wrote Miami Vice. The music for Miami Vice.
Ryan: Well, the tv show or.
Laura: Yeah.
Ryan: Okay. It was like the. For the fucking movie. Um, no.
Laura: Cause this movie is heavy synthez mixed with Bryan Adams.
Ryan: Yeah.
Laura: Which is awesome. This is also the very first. Like, this is the debut of Bryan Adams hit heaven.
Ryan: Huge song.
Laura: Huge song. The album hadn't even been released yet. I think the album was released the next year. So two songs from that album heaven. And then there's a second one debut in this film.
Ryan: Right. Okay.
Laura: Which, you know, wasn't a hit.
Ryan: Well, yeah, they hinged their. Hinged their wagon to the wrong horse. I think. I think I think this film, like, on the face of it, it seems relatively quite innocuous. And it would have. But like, there's something, like, there's an undercurrent. Like there's something underneath it which makes it slightly unappealing in one way, shape or form. And I'm not too sure what it is. It has the makings of something that's like. That could have quite a lot of mainstream appeal. I just think there's something that, like, prevents it from having. Like that.
Laura: Yeah, I agree there. I have. It's interesting. I learned a lot about kind of how this film came to be. So it was conceived by choreographer Danny Theriault, who was in the film. And he played Tony. He was the guy at the end who had that service Mandeh outfit on.
Ryan: Yeah. He kept on losing his job. And it's like, dude, why don't you just become a stripper instead? And I'm just like, what the fuck? Like, that, uh, was like, like, only in Florida.
Laura: Hell yeah. He choreographed the film. He was meant to be the main character, so he was meant to play Ricky, but that didn't happen. And there was another model named Paul Land, who was also. They were supposed to be the maintain kind of characters in the film, but that didn't happen. But he conceived of this idea. Then Joan Tewksbury wrote the screenplay. She also wrote the screenplay for Robert Altman's Nashville.
Ryan: She is a. Oh, yeah, she's a proper writer.
Laura: Exactly. So she admitted in an interview that the producers made several changes to her script. And she's like, well, I'm a screenwriter. I just do my job. It is what it is. But she visited a lot of topless bars and around Texas and Georgia, Florida and New York, kind of as part of research. And she noticed that the women who went to the male strip clubs in Orlando.
Ryan: Right.
Laura: Uh, tended to be what she quoted as sweet natured and often pretty, and treated the experience as a harmless diversion. Hmm. Um, so that's where she, I guess, decided that Orlando was a good place to set the film.
Ryan: Okay.
Laura: And it scheduled production was scheduled to start in October of 1980 in Orlando. And it was rescheduled because the original director that was tied to this film was Nicholas Roeg.
Ryan: Oh, shit. Okay. Interesting.
Laura: I know.
Ryan: Yeah.
Laura: I, ah, could not for the life of me find out what happened, why he didn't go through with it, or why he was,
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Laura: uh. You know, why John Galvaton took over. I don't know what happened.
Ryan: Okay.
Laura: But. Oh, well. And they shot the film in Orlando and in Miami.
Ryan: I do think that there's a level of John Ghdev. He has traits about his style that kind of make him a really good director for hire. So, like, if you have, if you have a project that's struggling to just like, get going, just give it to John G. Because I think, I think his style, I wouldn't say it's like simplistic, but his style is very kind of classical. And I think it just kind of lends itself to, you know, to the kinds of films that he's making, which are, you know, they're effectively just like they're dramas for the most part. Um, yeah, very kind of tv soapy sort of dramas. Um.
Laura: I could actually really see this in Nicholas Roeg's hands. You can see what would have happened potentially. And it would be really interesting not to say it's better or worse. We will never know that we can only dream. But I still don't hate what we got out of it at, uh, all.
Ryan: No, I would agree. I think, yeah, we would have had something a little bit more flamboyant from Nicholas Roeg. But then I'm also kind of like, it might have been like 3 hours long.
Laura: And it does make you think since the producers did have so many changes and who knows what happened when they were editing. But the film being only 83 minutes, which, not complaining, but you can absolutely see where you missed character development. You missed little bits of plot because there's so, so many different little things happening. The side character is having all these things. There's a tiny businessman. We don't figure out the life of this tiny businessman trying to sell his video games.
Ryan: Yeah.
Laura: There's the sister. She's having a lot of trouble in her marriage. Seems really, uh, uncomfortable.
Ryan: Yeah. And we only really find out about it when she's like, I gotta go. I can't go on holiday.
Laura: Yeah. It's not even an exposition dump. It's just an information dump that goes nowhere.
Ryan: It looked like something that they were like, how do we truncate several scenes into just one moment? And it's a, ah, odd scene where it's kind of like a few things are said and you barely understand it. And then it's like resolved and they hug and she leaves.
Laura: Right. Because also in that scene, Leslie Ann Warren's hair is different. She's wearing the same outfit, and her sister is wearing totally different clothes and her hair looks totally different.
Ryan: Yeah.
Laura: So you could tell something happened.
Ryan: You can tell, ah, there's something that truncates, that that's missing. Um, yeah. You do feel like the pacing of the film. Yeah. They're just not, they're nothing. They've probably chopped a bunch of stuff out. That's what it kind of looks like to me, is they've just kind of chopped a bunch of things out.
Laura: I would have watched a two hour version of this, weirdly enough, but 83 minutes. I'll take it.
Ryan: Uh, I think if it's longer, though, you start to see the cracks start to show a little bit because the acting's poor and the line delivery is fucking horrific. And some of the dialogue is like, is like, all over the, the plays. I think if this, if this. I mean, I don't know. The production seems like it might have been troubled in some, some sense of degree. I think it's lacking a lot of rehearsal. I think it's lacking a lot of, uh, actual dedicated time for. For these actors to, like, flesh out the characters a little bit. Because some of the side characters, and I don't think you could disagree with me, is that they are. They're pretty bad. Like, they're pretty bad. You only see them for, like, slick, for example. Um, she's fucking awful. What? She's edible.
Laura: I love slick. I loved Slick with her saucy car commercial. And then all of her clothes are incredible. I love slick. She's always hanging around. She knows everything that's going on.
Ryan: Well, then you should thank the second unit director for doing the advert and the fucking costume department for picking out her goddamn clothes. That doesn't that doesn't help her performance.
Laura: I thought she was great. I liked her. Every time Slick came about, I was happy to see her.
Ryan: Okay. Well, a lot of the side characters are like the side pieces of Rick's life. Um, they're poor. They're pretty poor. Yeah. They're kind of just like. It's just they're not very good at all.
Laura: I think for me, m it's just some of the main characters you don't get to know enough. And I thought that I wanted to know more. I wanted to know how the husband went from being a rocket man rocket engineer to losing his job. It's fine, you know, programs end.
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Laura: I don't know.
Ryan: Again, it doesn't make any sense that he would lose his job. He would just get reassigned.
Laura: I don't know.
Ryan: He's too fucking smart.
Laura: I don't know. But then he, uh, you know, he can't. He's having a hard time finding another job, obviously, because he's like, I don't do anything else. I only do rockets. And then he go. And then he gets.
Ryan: I'm too smart. I'm too smart to do anything else.
Laura: And then he starts wearing camouflage shirts and playing with guns. I don't understand that.
Ryan: It kind of. Yeah, it takes up. It takes a fucking turn in the.
Laura: Third act as well. It's just.
Ryan: Yeah, you're just like, okay, um, I guess he's shooting guns. Um, and he's really good at it.
Laura: Yeah, incredible aim.
Ryan: He is good at it. Plus, we're not really sure is, like, what's going on in their relationship. Like, we don't really get any other detail other than she's pretty horny and he's kind of just like, too tired all of the time.
Laura: But I also think that's unfair because we only see him Hour, uh, before he gets fired.
Ryan: Yeah.
Laura: So you never really get to see. He's like, let's play hooky. Let's hang out. And she goes, I literally can't. It's finals. Any other day, I would love to party with you, huz, but I can't. Yeah, then he gets fired. Then she gets all horned up for touching young boys and then tries to have sex with him, but she doesn't know he got fired.
Ryan: Yeah, that is weird. Do you think that's where it all stems from, is that she wouldn't play hooky? And then he's just like, well, I'm in a dark abyss that I could never escape.
Laura: Maybe. Um.
Ryan: It makes perfect sense to me.
Laura: I'm gonna rewind us back to the beginning of the film. That starts out with heaven, right?
Ryan: It does, yeah. So the opening title sequences, um, begins with, uh, Brian Adams, Heaven and the.
Laura: Kennedy Space center in the sunrise.
Ryan: There's some real nice stuff with him on the long bike. Garrett Brown did a lot of the steadicam work.
Laura: It looks awesome.
Ryan: It looks really cool.
Laura: Good to see some KSC in the eighties.
Ryan: Well, you and me were like, how far is he fucking? Cause to get to Cape Canaveral and the Kennedy Space center? It's out of the way.
Laura: Oh, yeah.
Ryan: It is secluded. Out of the fucking way.
Laura: It's near Titusville, which is where they live. But I'm like, uh, man, he's on that bike. But then again, remember, he made that bike and it can go 50 mph with the right person.
Ryan: Yeah. It's not motorized, rocket boy. I don't.
Laura: Or it has to be motorized. Right? I want to know more about this bicycle.
Ryan: If it's just that. If he just built nothing but a long bike. It's like, I don't care. Like, it has to be, like, self propelling. Like, it generates its own energy or something.
Laura: And it has a windscreen. But it doesn't help you from bugs.
Ryan: No, it doesn't. He's chomping on bugs the entire way home. He's in Florida. He's definitely chomping bugs.
Laura: Yeah.
Ryan: Um, absolutely. Yeah. No, that's, uh. Yeah, yeah. But that sequence, all in all, if you, if you forget about the fact that it's, you know, it's ridiculous. It's actually, it's, it looks nice. It's pretty cool.
Laura: Yeah. You know, and eventually, when we meet, when we meet Rick when he's in school, I'm probably, I'm gonna jump all over the place. I'll try and keep it chronological.
Ryan: Well, that's okay, because it was like, well, here's the thing. There's something that I kind of, I couldn't wrap my head around. Is that the first time we meet Rick is, he's leaving a girl's house, but it's technically his neighbor, and his mum lives right next door. And slick's picking him up to take him to class, I think.
Laura: Right.
Ryan: And he's basically saying to slick about the girl that he's just left, and she's like, you're a star. I thought we'd see you on, like, you know, the National Enquirer or, you know, any one of these magazines. And it's like, yeah, yeah. And he says to slick, he says, that was a one night job. And I'm like, but she literally lives next door. Like, you can't just have a one night stand with your neighbor and then try and ignore her. That doesn't make any sense.
Laura: Yeah, that, because he wouldn't have brought him back to his mom's trailer.
Ryan: Well, no, not if she has a bed next door.
Laura: That's weird.
Ryan: Yeah, it doesn't make any sense, but, like, he's, he's meant to be, like, a cad. Like, he's meant to be, like, a womanizer. So he has, like, the personality to be this kind of, like, you know, fast talking, money making, like, stripper who, like, all these women. Like, they're following across the country. Like, he's a, he's a fake. Like, he's a personality. I don't think he's a fucking asshole, though. Like, I really, like, I don't think he's an asshole because you kind of have to, like, think about, like, what are his motivations for doing certain things. And it's like, well, he's making the money. And he's a. He's seductive. He's doing certain things. He's doing that. He's obviously seducing the teacher so he can get better grades
00:30:00
Ryan: because he's lazy. But, like, it's. Yeah, it's like, like, how bad of a person is he? And I don't know if he is.
Laura: No, because he said he's trying to strip because it's a way to make money so that he can take care of his mom so she can retiree.
Ryan: Yeah. It's, um. Um. Yeah. I don't know. I don't know. I would say the husband has bigger fucking problems. Like, he comes across to me like he's a little bit of a psycho. Um, certainly, like, near towards the end of the film. But, like, it's, it's just. Yeah, it's just kind of, it's kind of wild. And I do like, there are certain aspects about the relationship between Ricky and the woman. I can't remember her goddamn name.
Laura: Uh, Faye.
Ryan: Faye, the Professor Faye. I'm a quiet woman. Faye.
Laura: She's very buttoned up and very afraid.
Ryan: Yeah. Gets her fucking world rocked by fucking rocket boy.
Laura: Yeah.
Ryan: Yeah. Jumping from one rocket to the next.
Laura: Well, he does his final, and she is. She's the speech professor. And his speech is, uh. It's an archaeological speech, okay? And he's talking about tribal composers. And I have to tell you, I'm an archaeologist. It's all bullshit. But I think she knew that. She knew that that was false. There's also never been, as far as I'm aware, a doctor, RF Goodrich in central Florida, doing this type of work.
Ryan: Remember when he was like, he showed the other student, gave the other student a piece of his mind, made a joke out of him?
Laura: Um, well, he goes, how would he know? He was the tribal composer? And he said, well, when he opened up the grave, he was decomposing. That was the joke. Okay. So my problem with the fact that she gave him an f on that is his speech was succinct, he spoke well. And whether or not it was false, I don't know if that's the point. It's like a debate, right? You have to just be, you have to be a good speaker. That's what speech class is about. So he sits down and says a joke retort to one of his classmates, and she fails him. I'm sorry, speech is over.
Ryan: Yeah.
Laura: He needs to be graded on his speech, not on his joke quality.
Ryan: Yeah. Cause if that happened to me, I'd have failed everything.
Laura: Yeah, because that's, you know, teachers don't do that. It's messed up.
Ryan: My, uh, jokes are terrible. Um. Yeah, no, it's weird. And I just. Yeah, it's kind of just like, you know, she's kind of. She's buttoned down. She's doing this. She's doing that. Yeah, there's a few that, again, I think, like, there's stuff that's missing out of the film. And they're kind of just like. They're trying their best to, like, piece something together here.
Laura: Well, you've got a tightly wound professor who never got to open up and really fully be herself, I guess.
Ryan: No, she's probably only been with the one Mandev her entire life, pretty much.
Laura: And her sister is visiting and has kids and a husband, and she's just wanting to let loose. Right. So her sister, you know, takes her to this strip club. So you can see the difference between. You've got this really tightly wound woman and then this, you know, this free spirit party sister who's taking her out and getting her face rubbed in different dudes. Wieners.
Ryan: Pretty much, yeah. Uh, she doesn't know what to think that I wish.
Laura: I genuinely wish that those types of clubs existed or a night like that. That place was so busy. The heaven club.
Ryan: Yeah.
Laura: There were so many women there. All of them really good looking. The dudes were good looking. They're doing musical numbers from to nine to five. They're doing all sorts of fun dances. Yeah, they don't exist anymore.
Ryan: No. I don't know. It made it look like in Florida. They're all over the fucking place.
Laura: Yeah. It's really fun.
Ryan: Which is not true.
Laura: I would love to go to there.
Ryan: Like, imagine if that just. You stumbled into wallies and, like, that was going on.
Laura: I would sit down and have a watch.
Ryan: We went to New Orleans. We went to a bar specifically for, like, that. It was like the boys on the bar, right.
Laura: Well, that was a gay bar. And wasn't it, um, John Water's favorite bar in New Orleans?
Ryan: Yeah.
Laura: I can't remember what it's called, but they said, don't take your phone out. Cash only. Don't take any pictures.
Ryan: Yeah. Don't you dare take any pictures. And I understand because it's kind of. It'd be weird to take pictures in there.
Laura: Yeah. Well, I mean, you can see guys balls and stuff.
Ryan: Yeah. You can. You can catch a glimpse at, uh, a wiener if you give them enough money.
Laura: Absolutely.
Ryan: Like, that's kind of what it's for.
Laura: Yeah.
Ryan: And that's very gay.
Laura: It's very. Well, so is this movie.
Ryan: Yeah, this film's a little gay.
Laura: Yeah, this film is. And it's great.
Ryan: Yeah, no, it's got a real campy quality to it, which I think it really kind of plays in its favor. Makes it a little bit more amusing. Um, but, yeah, she sees Ricky rocket, um, perform at the club. The person that she just flunked, I like when she's.
Laura: She's like, I just flunked that kid. And her sister's like, you did what to that kid? And then she says it again to her sister's friend. She's like, you did what to that kid's butt?
Ryan: Just flunked him.
Laura: He did what to his ass?
Ryan: Get flunked. It's like crazy flunking failed.
Laura: That'll work too.
Ryan: But I don't know why you, uh, flunking. I mean, it's there for joke purposes. It makes sense. But he, he played like, he sauces her up like nobody's business.
Laura: He zeros in on her.
Ryan: He is super sauce. Like, he is like, yeah, major Tom. Like, grand control. He's going in. You know what I mean? Like, he's gonna get it done to the point where, like, he kisses her at one point and she goes cross eyed. And basically you said he just kissed her stupid.
Laura: Yeah, kissed her stupid. Well, as he's gyrating on her face, uh, he looks up and slick is standing right above her.
Ryan: Yeah.
Laura: Kind of in a not balcony type of thing, but, like, the next level up.
Ryan: Well, that's kind of what slick does in this movie, is that she kind of turns up and she makes some sort of derogatory comment. And then, like, that's her. That's her character. She's very fucking boring.
Laura: Love her.
Ryan: She's very dull. She's a fucking fridge magnet. Like, she just comes out and just says things, and it's like, right, okay, whatever. Slick.
Laura: Well, I don't agree. That's a cool name too. And I wish that was my nickname.
Ryan: Slick? Yeah. That's too close to Slick Willy. You know what I mean? Remember I was making jokes about Slick Willy at that film festival thing and the guy didn't get it?
Laura: Oh, the Bill Clinton thing?
Ryan: Yeah.
Laura: Oh, right, right.
Ryan: That's when I found out that people that work in the film industry sometimes are completely unamusing. They do not like jokes. Um, but, yes, that was. That was a moment, anyway. Yeah, but that's what that immediately makes me think of. But she comes back, and then she's all horned up. He's lying in bed.
Laura: Oh, Faye, the wife.
Ryan: Yeah. We're back to Faye. Not talking about Slick.
Laura: She makes out with that boy at the club, and then she gets all freaked out about it, and then. Yeah.
Ryan: Tries to bone her husband, and he's like, I can't. I got fired. Like, it's. No, like, the thing is, he like. And then she starts crying. Cause she's like, I don't know what's going on. Even though, like, not too long ago, it seemed like they were fine. Like, I didn't really understand what was going on there.
Laura: I don't know who you are anymore.
Ryan: It's like, oh, Jesus.
Laura: He's like, I just lost my job. Like, at, uh, NASA.
Ryan: Yeah.
Laura: How are we gonna live on your community college?
Ryan: Yeah.
Laura: Paycheck.
Ryan: They don't want me in space anymore.
Laura: I mean, they. Again, I made this comment during the film that they bought that house probably in the seventies, and their mortgage is probably $23 a month.
Ryan: Yeah. You did. Yeah, it was full of wood. And I looked around our new house, because we have a new house now. Um, yeah, this is our first. This is our first episode in the new studio.
Laura: Yeah.
Ryan: And it sounds pretty good. Um, yeah, no, and we're. Yeah, we've got tons of wood in our house. Yeah, it's full of wood. Um. Hey, ol, but, yeah, like, he just. Yeah, he gets fucking fired from that. And again, like, that's gonna boggle my mind. Like, how the fuck do you get fired from NASA?
Laura: We're not gonna get hung up on this. I'm not even gonna talk about it anymore.
Ryan: Like, there's a finite amount of people in the world who can do the sort of things that that man probably does.
Laura: When did they shut down? Uh, the shuttle program. You know, the shuttle program. Maybe he worked on the shuttle program, and they shut down the shuttle program. I'm sure people got laid off.
Ryan: Yeah, but when was, like, the challenger two? Like, tragedy?
Laura: I don't know.
Ryan: Was that in the eighties as well? Maybe? Either way. I don't know. They still fucking send. They still send stuff up into space now.
Laura: Okay, it was 2011. They stopped their shuttles.
Ryan: Right? Well, there's no explanation whatsoever. He's. He's fired. I mean, I don't know. Maybe he was taking his. His gun to work or.
Laura: The challenger was in 1986, so, yeah.
Ryan: Okay, so, yeah, all right. Either. Either way. Right? It's causing a rift at the household and basically, a rift within this film.
Laura: Takes,
00:40:00
Laura: uh, uh, takes place over maybe three to four days maximum.
Ryan: Yeah, it has to be. Yeah, it has to be.
Laura: Because when they're talking, every time she sees rick, it's like the very next day.
Ryan: Mm hmm.
Laura: So it's. The rift is short.
Ryan: The rift is short. And it feels like it's kind of generated, not very truthfully, for purely dramatic reasons. And because of that, you're like, well, okay, this is kind of odd. Um, like, she wouldn't get laid one day. She wouldn't have hooky one day that she's like, I don't know what I have in my husband anymore. I've got this fine piece of young man ass after me.
Laura: Exactly.
Ryan: Oh, well, see him. Accurate.
Laura: Uh, she wants what she wants. And that all happened in one day?
Ryan: Pretty much, yeah. All happened literally in one day. Like, she was seduced by the rocket.
Laura: So it only took a couple of days for her to go, oh, maybe I should bone this. This kid. He's not a kid. He's 21.
Ryan: 21.
Laura: But he shows up everywhere she is. Small town. Everywhere she is. He shows up, like, at a museum exhibit, everywhere.
Ryan: Flanagan's fucking Flanagan.
Laura: He's there.
Ryan: Yeah. And basically it culminates in a sexual encounter.
Laura: So, yeah, she ends up seeing him, I think, at the community college, and he brings her a single rose in the rain. And her sister needed to go back home to Chicago because her kid's sick. And she goes, well, the room's all paid for, so you can stay at my hotel, question mark. Why would she want to do that?
Ryan: Very odd.
Laura: I wouldn't want to just go. I want to go home. Why would I want to stay in a hotel?
Ryan: Yeah. Well, it's immediately suspicious, but it all starts to make sense. Cause this is her moment. This is where she gets to jump on. Jump on old dicky rocket pants.
Laura: Totally. So, right. So she brings Ricky back to the hotel room.
Ryan: Yeah.
Laura: And it all goes down.
Ryan: Yeah. It's a little bit of rubbing on, rubbing on the jeans and then a lot. A little bit of kissing, a little bit of slow undressing. This is also strangely silent. Everything that we are describing to you, there's no music, there's no Brian Adams. This is the picture perfect moment for some Bryan Adams.
Laura: Right? And I thought I was praying about.
Ryan: Some Brian Adams, because heaven, um.
Laura: Because you could hear heaven playing in your head, right, while they're getting sexy. But then I think it would have been too romantic. I feel like it would have meant more narratively if they played heaven over that one part, because it would have meant something.
Ryan: They had to play something other than just like the rustling and the heavy breathing and the cupping of the balls and the slapping of the cheeks. Like all, it's not that bad.
Laura: It's pretty romantic and pretty delicate.
Ryan: It's so quiet.
Laura: There's only one bit of nudity in this particular section.
Ryan: Where was Jan? Like, where.
Laura: Yeah, where was Yan?
Ryan: What was yon playing?
Laura: Where's my sexy synth?
Ryan: Yeah, give me some ominous tones, Jan. Not ominous. There's some ominous tones when they're at NASA. And I was just like, what is this? He's just holding down the same two notes the entire time for like 10 seconds. And you're like, okay, oh, I guess he's gonna get fired. Um, but yeah, for this, it's like, it's uncomfortably quiet.
Laura: Um, yeah. He, I believe, takes her hand and puts it on, cups it on to his pants.
Ryan: Because he takes his jeans off.
Laura: He takes his jeans off and the camera just goes there.
Ryan: And, well, it's already an established shop because it's close on their faces in a profile, and then it's the same close up, but from there, from their waist. Yes. So she's rubbing on the top of the pants, and then those pants come down, and then we are exposed.
Laura: We're exposed. He is exposed. And she is exposed to his penis, to his genitalia. He is not wearing any underwear.
Ryan: No. Which is also a mistake, guys. You should not just wear jeans and not wear any underwear. Cause where's the barrier between your arsehole and your trousers? Nowhere. You're getting shitty trousers.
Laura: I would hope that he knows how to wipe and clean himself properly. What would worry me
00:45:00
Laura: is a zipper on jeans being so close to the soft skin of a wiener.
Ryan: We've all been there.
Laura: Or pubic hair.
Ryan: Yeah. Or, yeah, we've all been there.
Laura: And, uh, dangerous. We've seen something about Mary.
Ryan: It's not comfortable. We got a bleeder.
Laura: Even though those were suit trousers.
Ryan: But still, how did the knot end up up there? And this is down here. Frags and beans.
Laura: Thank you for quoting all of the quotes from.
Ryan: There's something about Mary I was sharing. There was a picture I saw online of, um, Norm's driving license from. There's something about Mary. You remember the pretends? It's Lee Evans, I think, right? He's pretending to be the scientist, the doctor, and he's actually just the pizza boy. Norm.
Laura: Oh, yeah.
Ryan: Oh, it's a good fucking movie. I don't. Yeah, it's better than this one. Anyway, let's let's continue on.
Laura: There was no nudity actually written into the script, at least during this part, because there are boobs, but they happen later. Slick boobs.
Ryan: Yeah.
Laura: And on the day that they filmed that scene, Christopher Warren supposed, or, uh, Christopher Atkins apparently just forgot to wear underwear and they just kept it in.
Ryan: Huh huh. Interesting.
Laura: They're like, oh, all right.
Ryan: Huh huh. All right.
Laura: Again, not his first rodeo.
Ryan: No. Well, you know what he's doing. He knows exactly what he's doing. You know what I mean? He's up to.
Laura: I just went so fast and didn't even say. This is an hour, four minutes and about 30 seconds.
Ryan: Yeah. Cause this film's only like an hour 22. It's so respectful of your time.
Laura: It's awesome.
Ryan: Yeah.
Laura: I don't know, this scene, this scene kind of sexy. I liked it. Yeah, it was quiet.
Ryan: Yeah. Cuz that's the thing. Like, man, then she's on top of them.
Laura: Um, and lightly lit as well. Dim the lights. That is some. It's not harsh hotel lights, but it's hotel lights.
Ryan: Curtains are drawn and. Yeah, it's just. It's the lighting in your hotel. Um, and it's. Yeah, straight in. I would say straight in. Nay kissing. But there's. I think it goes in, then there's kissing.
Laura: Then there's kissing.
Ryan: Yeah.
Laura: Straight in, then kissing.
Ryan: Straight in, then kissing.
Laura: Yeah, she had a great time.
Ryan: She definitely sounded like she was having a good time.
Laura: Good for her.
Ryan: But yeah, I mean, it's. What a. What a mess she's created. Silly whore. Um.
Laura: Hey now. Hey now. She can do anything she wants.
Ryan: Yeah.
Laura: She can have sex with that boy if she wants.
Ryan: Her husband's at home shooting his. 357 Magnum.
Laura: His husband, or her husband's also at home hanging out with chicks that he wanted to make out with in a children's room.
Ryan: Yeah.
Laura: So he's out there also having a flirt.
Ryan: Again, another reason why if you're cutting stuff out, you make these other things look a little bit fucking odds.
Laura: Yeah.
Ryan: Some of these scenes look weird as fuck.
Laura: Yeah. Why was. I understand why he was at her house. They were just getting to catch up.
Ryan: And everything with like little to no context at all. It's kind of just like, huh, huh. And then you're watching it, you're like, I'm missing a fucking shit ton of information here. And it makes no sense. No sense whatsoever.
Laura: Uh, yeah, because you could also cut that out completely, but then you just. Well, yeah, there's no point for it being there.
Ryan: Yeah, there's no point it being there.
Laura: Except to show that he could have potentially boned that woman from the past. But he didn't.
Ryan: It just doesn't help in a storytelling sense. Like, it doesn't. It doesn't matter. You know what I mean? It's like they've tried their best to tie all together, but then they've realized that most of what they wrote was just trash, and they got rid of it, and they've kind of just created something out, uh, of what was left, basically.
Laura: So they. Okay, so we're still in the hotel, right? Still in the hotel. Faye is there with Rick, and they had sex, and they had a great time. And then for. I'm not sure exactly why, she had to leave for a little bit. She had to go somewhere.
Ryan: Who had to go?
Laura: Faye?
Ryan: Oh, none of that's explained either.
Laura: She had to go somewhere, and she's like, I'll come back. I'll come back. I don't know what she had to do. I forget.
Ryan: Yeah, I don't know either.
Laura: So by the time she comes back, Rick is having sex with slick in the shower, in the hotel room, because he goes, oh, you know, you don't have to come back to my trailer. Come room. Yeah, absolutely.
Ryan: Um, when in room.
Laura: So then Faye gets back, is obviously furious.
00:50:00
Laura: But this is when you realize that the husband thinks that something's wrong. The husband, Whitney thinks that there's something going on, and he is downstairs in the lobby calling her hotel room, and she's crying. Cause she catches this boy sleeping with slick.
Ryan: Yeah.
Laura: And she's sad because she doesn't know. I don't know why she thought she was the only one. It's insane to.
Ryan: Yeah. It's.
Laura: It's like she's heartbroken.
Ryan: He's not a guy to love. Like, there's not, uh. He's not someone that you love, like, we've kind of already established. And he said straight up, he's very honest. He was just like, he's like, I'm 21. Like, this is what I should be doing as a 21 year old. He's, like, sowing his seed. He's doing his own thing. He's.
Laura: Yeah, this is his.
Ryan: Yeah, this is his face, which I would say probably most, most 20 old year old men and women do, is that you don't commit yourself to anything.
Laura: No.
Ryan: You're trying to find yourself. Figure it all out. Figure out what you want out of life, blah, blah, blah, blah. What are these things?
Laura: What did she think was going to happen?
Ryan: Who knows? There's not really any sort of context to that either, but she's very upset, and she's talking to her husband, who just happens to be in the lobby. And you already know, like, he's waiting for Rick to come downstairs. And then he's got the big ass fucking gun in, like, his. The hoodie pocket. You know that? Yeah. And the nozzle's poking out. Cause it's so huge.
Laura: When Rick comes out of the elevator and Whitney's standing there, he goes, what number room key is that? And he says, the room number. And then he takes the little gun or the big gun out of the sink, and he goes, massive gun. He goes, my favorite line. I've got a gun. I want to see you dance. And it just kicked. I mean, this. The movie is gonna end. You look at how long you've left. You go, oh, this movie's got, what, like six minutes left or something?
Ryan: Like six minutes, yeah.
Laura: And you're like, whoa, he just kidnapped this guy. And he takes him to a fucking swamp.
Ryan: It's in the middle of the night, and he's naked. Rick is completely naked.
Laura: Whitney has him take off all of his clothes. Rick is, like, wailing, crying out of control. Crying, just, like, weak. Please don't kill me.
Ryan: He's terrified.
Laura: Of course he is. He's naked in a swamp. He goes, get into the. Was it skiff getting the. Get in the boat.
Ryan: Is it a skiff or a skip? It's probably a skiff, right?
Laura: Skiff? Yeah, I mean, get in a skiff. Stand up. And you see him naked again. It's dark this time, but it's just. He is wailing.
Ryan: I, uh, don't want.
Laura: Don't want to die.
Ryan: Don't kill me.
Laura: What makes you think you could fuckin my wife? And he goes, I thought she was lonely. Yeah, is what he says.
Ryan: And then he, like, shoots at the water. And then he goes, I'm just pissed off. I'm not crazy. And you're like, what?
Laura: Well, it's like recent events seem to point in another direction, sir.
Ryan: Actually, sir, I would say. I would say that what you're exhibiting is a little bit of crazy. Um, when you're mad. Fucking funny. It's so funny. It's like. It's like. It's. The thing with, like, uh, movies of a time is that these characters can do these heinous, fucked up things, and then they're just like, well, you know what? It's all good. I'm gonna go home. And it's like, no, no, no. You committed a crime.
Laura: You kidnapped someone. You kidnapped someone under gunpowder at gunpoint, took him to the water, stole his clothes, and left him in the water.
Ryan: Because how does having an affair equate to you being able to, like, kidnap him at gunpoint and then strip him off and then leave him there completely naked, being eaten alive by bugs?
Laura: Yeah.
Ryan: And it's just like, he's like, how do I get my clothes back? And he's like, I thought you did well. Like, I thought you did well naked or something. I'm like, what?
Laura: Yeah.
Ryan: I was like, okay. That's a fucking weird thing to say. But then it's like he's saying things like that, and I just go, Florida?
Laura: Hell, yeah.
Ryan: Yeah. I'm just like, it's Florida. It's probably legal back then. Um, and then there's that ending. That ending's fucking weird.
Laura: Just that slow, silent reconciliation of husband and wife.
Ryan: Oh.
Laura: When she. Okay. When she walks in the door. Okay. From being in the hotel. And she must have been there for ages, because in the time between when she got home, he had taken and kidnapped the man and come home. And it looks like he drank half a bottle of wild turkey by himself.
Ryan: Pretty much, yeah.
Laura: So she gets home. She sees her husband. She knows that
00:55:00
Laura: he knows something's wrong, right? He's sitting there silently with all the lights on, drinking whiskey, though. Half the bottle's gone. And I look, and I was like, that looks like a man that's about to hit his wife. And yet what we are, uh, subjected to is just a slow, quiet reconciliation. He's like, don't even tell me. Don't even talk about it. And then they just have cute little jokes as the. As the camera just makes no fucking sense. Moves out.
Ryan: Like, none of it makes any sense. And I'm like, okay.
Laura: And then Brian Adams plays. Plays us out.
Ryan: Then Brian Adams plays us out with, effectively, the half titular song. And, yeah, it's over.
Laura: It's awesome.
Ryan: And you're just, like, scratching your head. You're just like, what the fuck was that?
Laura: Uh, and I was pumping my fists in the air like, fuck, yeah, that movie's fucking awesome.
Ryan: That's how they dealt with problems back in 1983. I think. I think that's what my parents did.
Laura: Yeah, absolutely.
Ryan: Uh, yeah.
Laura: I love this film. The LA Times called it 83 minutes of hell.
Ryan: That's harsh.
Laura: I know.
Ryan: Fear. There's been. There's far worse things.
Laura: Oh, my gosh. So many. This is such a fun movie.
Ryan: Fucking trying to get you name your journalistic character out there. Give me a break.
Laura: Maybe I should save all my comments for my ratings, but the film grossed 1.8 million in 901 theaters upon its.
Ryan: Release from a budget of 400,000. Right.
Laura: On a budget of 6 million.
Ryan: Shit. That's a bad.
Laura: But it eventually overall grossed 5.5. So it wasn't the biggest disaster of all time.
Ryan: It's not a borderlands disaster. No, no, no. Um, but, yes. That's not. That's not good. But then he hit it big with the next year with very nice karate kids. So it's like. Yeah, so, you know.
Laura: And. Yeah, we were talking about the golden raspberries and Christopher Atkins. Wondehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehehe for this film, for worst actor.
Ryan: He'S actually one of the most interesting ones in there.
Laura: I agree.
Ryan: The rest of them are fucking like, he's great. Holy crap. Yeah.
Laura: Um, they called the film a night of heaving.
Ryan: Yeah, that's not bad, actually. Congratulations. That's good. Well done.
Laura: Well, well, well. Do you have anything else to add? Do you have anything else in your notes?
Ryan: No, because I was just writing down lines of dialogue that, uh, I thought were fucking funny and interesting because there's some fucking stuff in here. But no, I haven't got anything else to add.
Laura: Cool.
Ryan: Yeah. Let's just get onto it in terms.
Laura: Of visibility, uh, and context. I'll go first. Why not? I don't know.
Ryan: Hey, why not? You might as well. You started, so.
Laura: I started. I gave it a 3.5.
Ryan: Yeah, that's not bad. I'd probably give it close to three.
Laura: Yeah.
Ryan: Yeah, because it's there. And you do see some when he's naked in the skiff and he's like, got a gun pointed at, um, him and stuff like that. You just see bits and balls. But we're talking really about that main sexual interaction because that's pretty close. It's pretty close.
Laura: That's pretty close. And I love that the director wasn't expecting it. No one was expecting to see his wiener. And then everybody did and it made it into the final cut. And that's cool. That's a nice little surprise.
Ryan: Yeah.
Laura: That's like a William Peterson type of thing to do.
Ryan: Yeah.
Laura: You know what? I'm feeling this. Let's just take my dick out. Everyone's like, sold.
Ryan: Yeah. It's like, there we go. Print it.
Laura: Um, I'd buy that for a dollar. I'm sorry.
Ryan: Oh, dear. Yeah. So I think about a three. You know, I don't think we need to over explain the context or its visibility either, because I think, uh, we've kind of. We've over explained the context about it and why things are happening. So six, you know. Yes.
Laura: And he's a stripper. And for the film, I gave it a four. I could go higher, but I think that would be insane because it.
Ryan: Remember what I gave?
Laura: I know what you gave it because I looked.
Ryan: Mhm.
Laura: Wait, maybe. I don't know. Anyway, I gave it a four. I gave it a four when I first saw it. This is my second time watching it. It is very fun, silly, a little bit dark, kind of sexy, and it's Florida movie. You gotta love that. And I think everyone in it is great. I don't think a golden raspberry is deserved, but, eh.
Ryan: Uh. Well, they didn't get nominated or anything for it or. No, he got one, didn't he?
Laura: I actually didn't look at all the nominees so I could look it up right now.
Ryan: I don't think he was nominated for worst director, but I gave the film a three because
01:00:00
Ryan: it's actually not boring. Like it's kind of. It's. I mean, it's stupid. Like it's. It's really stupid. It's, uh, not anything that should be taken seriously. And it shouldn't really, to be honest. Like, it shouldn't be taken seriously. Why should it have to be taken seriously? But I think, like I said before, it's missing something that would garner it a little bit more, uh. Uh. Like mainstream appeal. I think there's something about it that just kind of makes it slightly off putting. But to me, it's. It's hilarious in its stupidity with what it does and. And how it does it. So that's why I gave it a three, because it's. It's definitely better than being average. Um, and there's some. Yeah, it's like. It's like a good. It's a good bad film. That's what we'll see. It's a good bad film.
Laura: Yeah. This is something you could watch with other people and have a good time.
Ryan: Yeah. You could have a right good laugh with an audience.
Laura: You could have a picture of margaritas or a, ah, pina colada or a barrel of cork. Oh, I thought you're gonna say a zombie because that's what the other girl said.
Ryan: Yeah, well, I was talking about the strippers. But anyway, doesn't matter.
Laura: Um, yes. Um, just in terms of wrapping it all up, this was the only nomination and the only win for a night in heaven at the golden raspberry awards at the fourth annual golden raspberries wow.
Ryan: There you go. Still going strong.
Laura: Ryan de palma was nominated for worst director for scarface that year.
Ryan: He should be nominated every year.
Laura: It was a big year for a lot of films. I liked jaws three. Djdeheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheheh yentl.
Ryan: Fucking, uh, yentl.
Laura: Love yentl.
Ryan: Oh, yentl's awful. It's an awful film. Fucking barbra streisand, the movie.
Laura: She was also. Yeah, she was nominated for.
Ryan: Oh, it's a terrible film. It's awful. Far worse than a night in heaven.
Laura: This is maybe something I wanna do instead of watching all, like, the best. You know, the winners for the worst, the Oscars for the Academy Awards. Let's watch the worst ones. I would love that.
Ryan: I mean, I would. I mean, some of them are bad, though. Like, some of them are really bad. Even the ones that get lauded because, like, we saw that Boppenheimer last year or this year. Um, you know, not always the best film wins. Um.
Laura: Yeah.
Ryan: Yeah. Um. But certainly. Yeah, certainly it's, uh. It would be interesting. We can definitely see. But I think, yeah, bad films were different. I. Back then. Bad films now are just bad films sometimes it's hard to get amusement out of bad films now because they're just plain bad.
Laura: There still are those diamonds in the rough. There are still those movies that are bad that are very, very fun.
Ryan: Yeah.
Laura: So they exist. They still exist in the forms of things like, well, it's time to do.
Ryan: A wee bit of cave diving, I say.
Laura: Wow.
Ryan: On that note, the cave of shit films.
Laura: Yeah. Uh, I'm gonna go really simple on this one. Coming to you from heaven.
Ryan: Wow.
Laura: Coming to you from the south Florida Flanagans. I have been Laura.
Ryan: Um, I've been Ryan Rocket man.
Laura: I wish that we were popular enough to have a screening of this at the Flanagans. That'd be fun.
Ryan: Yeah. Like, if we could put it together and, like, try and get the rights to screen it properly.
Laura: Yeah, that'd be really cool because, like.
Ryan: It'S impossible to find.
Laura: It's not impossible. You just have to go down.
Ryan: Well, we were going to get it on VHS that way.
Laura: Going to get on a VHS. If you try to buy the dvd, it is 80 or $100. It's very expensive, which I want.
Ryan: VHS isn't that expensive.
Laura: Yeah, yeah, I want the VHS. It has the good cover on it, too. So, anyway, uh, make sure to follow us on the Internet, you know, on Instagram and on the beat. And we're on YouTube and are we? I don't know. We're on the web.
Ryan: We're on everything.
Laura: We have a website too. It's onbeat.com. we're all advertising and on letterboxd. You can find us there and see what we're watching. And you can find those links on Instagram. Thank you so much for being here. I hope you enjoyed all the dancing and the wieners and we will see you next time. I've been Laura.
Ryan: No boners.
Laura: Not enough boners.
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