We're uncovering Ridley Scott's latest work: THE LAST DUEL (2021)! Be warned, we aren't kind...
Full disclosure... Ryan loves Ridley Scott but he's well aware of the some times sporadic quality of his work. Some times it's great. Some times it's not. In this case, it's not great. It's also noted as one of the latest "spots" in any of the films we've covered, within the last few minutes of the film inordinate length. And yes, the film is inordinate. It's too long. And it subjects you to a scene of the worst kind of barbaric human indecency one can inflict on another not once, but TWICE so you're able to ascertain some level of subtly from this heavy handed example of storytelling. We break it down pretty succinctly but it's not easy to bring the yucks when this is what you have to work with... Good luck.
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Hey, guys, thank you so much for downloading and listening to this episode of on the Bitte. Have you rated or reviewed us yet? If not, why? The best way for us to grow is by sharing us with your friends and rating and reviewing us wherever you get. Your podcasts Spotify has a new rating feature right on our podcast front page. It is super easy and the more five star ratings and reviews we get, the better it is for us to grow. If you screenshot and DMs your review, we'll share the most flattering ones on an upcoming episode. Thank you so much for listening and your support is marvelous and appreciated. Holy shit. You're getting ready?
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I was just trying to clear my throat because I'm obviously having trouble breathing, like, as it is right now, for whatever reason.
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Oh, my God. Um, this is going to be a rough hour.
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Yeah, a couple of hours, probably. We already went through.
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I was talking about this for an hour.
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A rough couple of hours. But The Last Duel. It's two and a half hours.
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Um, yeah. Hello there. Welcome to on the Bitte, the podcast that uncovers full frontal male nudity in cinema. My name is Laura, and I'm joined by my co host, Ryan.
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Hello.
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We're doing a new one today.
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Yeah, this film was only released last year.
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Yeah, we did not see this in the cinema.
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Yeah, to roaring reviews.
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Uh, I hear roaring reviews of anger.
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Don't agree with that, but he's got plenty of shit under his belt. And to be honest, he's quite mouthy about it. If we were wrong, he'd probably tell us.
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We are about to talk about the 2021 historical drama The Last Duel, starring Matt Damon, Adam Driver, Jody Comer, and Ben Affleck, directed by Sir Ridley Scott.
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Uh, see, he's a Knight as well. Yeah, he got himself knighted.
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He looked at the script that said there were Knights in it, and he goes, I'm just like them.
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I'm going to fucking do that now. Uh, yeah, I'm going to do something I've kind of done already at least three times with other movies, but here we go.
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This one's a little bit different.
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This is going to be a blinder.
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Uh, this one was written by the boys who did. How about them Apples?
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Yeah, how about them Apples? Fuck. Because how many scripts have, like, Matt and Ben penned so far, other than Goodwill Hunting? How many of they actually penned other than Goodwill Hunting, other than Goodwill Hunting?
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One.
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This is it.
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This one.
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Oh, my. Um. God.
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They haven't written together in 25 years. And they came together, I believe, after Matt Damon read this book. Who, um, wrote this book? Eric Yeager.
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It's a 2004 book.
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Yes. By the same, uh, name. And he goes, hey, buddy. Hey, buddy Ben.
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My buddy Ben.
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Hey, buddy Ben. Would you like to do, uh, this movie with me and buddy Ben is like, heck yeah, bro.
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Wow. Okay.
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Hey, best friend, let's do this.
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Is that how Project Greenlight works as well?
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Sure.
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Okay. Buddy Ben.
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Come, buddy Ben. And he goes, hey, Beth, bro. And then they kiss and they kiss the contestants of Project Green Light. Yes. And they kiss each other.
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Wow.
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Just like they do in the movie during the wedding scene.
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They do, yeah. There's little boy kisses during the wedding scene. But we'll get to that when we get to that because that is some fucking shit right there. I'm going to go straight in and be like, I remember they announced this movie, and obviously we've had Covet and stuff, but we had COVID. We still have COVID going on right now. I, um, remember seeing, like, a few years ago when they announced this film. I saw some screenshots. I saw some screenshots of like, Affleck and Matt, uh, Damon and stuff like that. And I think my immediate reaction was like, what the fuck is this? What is this that they're doing? Because I don't know if you've seen The Great Wall.
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Oh, no, I definitely have not watched that movie. But I know.
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Yeah. The Zhang Yimi, uh, kind of American starring. I don't know if it's Chinese funded, but either way, with a film he made, it's terrible.
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Right.
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And you're like, what the fuck is Matt Damon doing in this? This is also a kind of thing where I'm just like, it's another one of those grossly miscast Ridley Scott historical epics.
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Correct.
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Of which we've seen quite a few. I think, like, in one of the earlier episodes, I, um, think I mentioned that we were probably never going to cover one of my all time favorite films because I think, obviously Blade Runner doesn't have a Dick in it or anything like that.
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And I'm always very happy when you tell me that you don't get to talk about your favorite directors. You don't get to talk about your favorite movies because there are no penises in them. And once again, here you are.
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Yeah.
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And Abashed.
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Yes. No, I've been proven wrong. Obviously. That's just what's happened there. I would say he's probably the definition of a prolific director. Now, whether you agree with all of the content that he puts out there, and I think he's under the impression that you should. Yeah. He is making shit well into his elderly years.
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He's like the definition of an angry grandpa full of piss and vinegar. He doesn't take shit.
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I haven't really got a problem with any of that stuff because that's been his approach to filmmaking. Just in general. He does not stop. He does not give up a fuck about how you feel. Like that's just the way he's always been.
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I like it.
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Yeah. And I think we're going to get into some real shit with this movie. But Ridley Scott is easily one of my favorite filmmakers of all time. Yeah. I think the stuff he's made. Certainly the good stuff. I think his career is very black and white. It's either, um, amazing or it's total shite.
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He's made your favorite film? He made your favorite film?
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He did. Yeah. My favorite film, uh, of all time is Blade Runner. Uh, I feel like visually it's a film that hasn't been surpassed in my opinion. I guess there's a few contenders out there like Paris, Texas would probably be a very good example of a film that looks amazing.
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Cool. Because instead of watching something good like Paris, Texas, the other night we watched Lawn Mower Man, Two Jobs War.
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That movie is actually not as bad as people say it is.
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Okay, sorry. Keep going. Ridley Scott Papa.
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Yeah, Ridley Scott Papa. Scott part, um, of the Scott family. Because he's not obviously Ridley Scott. Scott is not the only one with to bear the name Scott. I mean he's three children. I think all three of his kids now make films. Jordan, Luke and the other one.
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I thought you were going to say all of his kids name her name. Scott.
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Scott. Scott, Scott, Scott, Scott. The third.
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The only one to bear the name Scott. Like his 1st, second and third son.
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Yeah. One of them's a girl. But I think, I mean, uh, more specifically about. I'd say Tony Scott is probably the most famous of the Scott brethren, I would say. And unfortunately he's no longer with us either because he committed, uh, suicide. He's also one of my other favorite filmmakers of all time.
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Yeah. You keep trying to show me Tony Scott movies and I'm like.
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I still think to this day like the early career of Ridley and Tony Scott. That is what I've based. Like the optimal visual look to films in general.
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Tony Scott did True Romance.
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Yeah, he did. Yeah.
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Okay. I really liked that movie.
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Yeah.
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Okay. Sorry, Ridley.
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Yeah, my apologies. Uh, but we'll get into that kind of the smoke because I feel like that's what it all kind of comes down to is the prevalence, uh, of smoke. Also obviously, uh, before Tony's death they had Scott Free, uh, productions. Obviously Ridley still has Scott Free Productions. And there's also Ridley Scott Associates, which is his collection, uh, of attorneys. No, it's Ridley, uh, Scott an associate. No, I mean they sign up and coming directors, visualists photographers. He got his start. Uh, I mean he was at the Royal College of Art. He um, directed a film. He made a film while he was there, but also starred his obviously late brother Tony and his late father called The Boy on the Bicycle. And it's easily one of the best first time filmmaking, uh, short, uh, films I think that's ever been made.
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Have you seen it?
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Yeah. It's really nice. It's a really beautiful film. It should be on YouTube. But if it's, um, not on YouTube, the only other place to get it would be on the Jolists DVD. He gets his start as a set designer and he worked for the BBC and he directed some shows on the BBC. We did set designing for Zed cars and stuff like that in the 60s but he'd be more well known for his background in advertising. So when Ridley Scott gets his start doing advertising and this is one of the stories I remember reading in a book about advertising. I think it was called Get Smashed. I think it was an intimate look at the advertising boom in the 60s in Britain. And there was an advert, uh, that Ridley Scott was shooting and it was basically about a home invader and it's seen from the home invaders point of view and obviously it's like leaving towards a product placement something.
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Oh my God, yes.
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This product is so hard to get. You have to break into people's homes basically. So Ridley Scott was the camera operator on this and they were using this where he had it on a helmet and the camera was on his head. So. Uh huh. There's no support or anything. He's just like putting this thing on top of his head and he's just like hoping for the best. I think they took about seventy 70 of this thing and every time he would go in through the window it would bump off the helmet. There was no padding in the helmet.
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Oh my God.
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And it would bash into his head. So by the time they got to like take thirty 30 got a gash in the side of his head bigger than his thumb and he's bleeding all the way down his face. Oh, forty 40 later he's been happy with what he's got and he didn't bother doing anything about it. This is the sort of tenacity that I quite like from this man. This is something that he just kind of brings in there. There's a massive advertising, um, boom in the UK into uh, the late sixty 60? S and into the seventy 70s. This is when advertising as a whole starts to be more considered as an art form. So basically the directors who they are pulling in and I'm seeing Adrian Lynn, Alan Parker, Tony Scott, Ridley Scott and a handful of others also this is where a bunch of other British cinematographers come in. They all have this very distinctive smoky kind of textured look about their stuff. So like all those adverts you saw for like Axel or Smash or those kind of fast crazy car commercials and like the Hovis adverts from back in the day made by these filmmakers and you can see like a stylistic synergy that kind of fuels all of them. Now they're all um, slightly different. They all have different kind of focuses and stuff like that. But you can see stylistically like they're making stuff that looks nothing like what the rest of the world is making.
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Right. Okay.
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And I feel like that's something that's kind of gradually being lost as we move into a more digital age.
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Tell me about his movies.
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He's made over one 100 by the time he makes The Jewelers in. I know quite a lot about Riddley, um, Scott, because I did an essay, uh, on him. I did Ridley Scott, uh, and a tour, uh, ship I did back in the day. That was, of course, I failed. But anyway. Oh, my God. In terms of his filmmaking career, he's made good stuff, and he's made bad stuff. Yes. So in terms of the good stuff, because we don't really need to kind of list, uh, it off too much. He's made The Jewelers, Alien, Blade Runner Legend, Black Reign, thermoise Gladiator, Black, Hop Down, Matchstick Men, American Gangster, Martian. That's the stuff I kind of like.
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Yeah, I like a lot of those movies.
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Yeah. But then he has also made some other things, like someone to watch over me and, uh, Prometheus, uh, and White Squall, uh, where it's all a bit shit, to be honest. I mean, Prometheus is the only movie that I feel like has made me more angry than anything I've ever seen in my life.
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I mean, I think you're definitely within a collective of people who really hate the new Alien films.
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I thought Covenant was fine.
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I'm not one of them. I thought Prometheus was fine, and I really liked Covenant, but he didn't do that. What's that? Alien Covenant. Yeah, he did. He did that movie fucking awesome.
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Yeah. No, that film is actually, um, fine, but, I mean, everyone assumed it was going to be a trash fire.
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I didn't assume anything because I didn't hate Prometheus.
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Yeah, Prometheus.
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It's not hard to please me. And I'm saying that at a time where we watched the last duel, he's got an interesting upbringing and a career, and he's made some amazing films.
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Yes, sir. Ridley Scott. Well, he's a Knight now. Yeah. So he's like the people in this movie. He's a Knight.
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Oh, my God. Well, I heard about how this kind of came to be, because after making The Martian, Matt Damon and had said that he really wanted to work together again. They're trying to find a project because they're, like, such cool friends.
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Well, the film did really well. Martian's good. Yes. Martin did really well. The Golden Globes, and it's a fantastic watch. Like, it's just a super interesting watch.
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I mean, to just have to watch Matt Damon for as many hours as that movie is, it's tough, but I still enjoyed it. Yeah, I don't hate Matt Damon.
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I don't hate Matt Damon either. He's fine. He was cast as Jason Bourne, and there was probably a lot of people that could have been cast as Jason Bourne at that point, but he's kind of a weird casting in this movie. I would say everybody is technically.
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They were trying to find a project to do together, so then when Ben Affleck and Matt Damon wrote, we're working on the script, they got to Ridley. Ridley's like, yeah, that's cool.
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But Ridley is like, I've made at least three of these already. Yes. Obviously, the best of which would be Gladiator. And I don't think there's any contest with that one.
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Yeah, no, Gladiator is awesome.
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He's also covered very similar material because he did Kingdom of Heaven with Fair, uh, or Blandelbloom.
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Yeah, I like the Crusades.
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Yeah, I think the Crusades is interesting.
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And that also being an interesting thing that this is such a famous, famous story that has been documented and documented again, it's so well documented. And as a person who got her undergrad minor in medieval and Renaissance studies and has done French medieval history, I did not know this story.
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Oh, that's weird.
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And I'm Super annoyed at that because I had a coworker telling me and he told me the end. He goes, oh, no, it's fine because it's a historical event, you'll know, the end of the story. So he told me what happened at the end of the movie, and I'm like, Damn it, I still wanted to see it.
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But that's fine, even if you didn't know what it was. I did know about this story beforehand. I didn't know what they were going to do in the film with it effectively. What they do is they turn this quite interesting moment in history, certainly in French history, and they make it interminably boring up until the last fifteen, 15.
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Okay. And you know what? I'm realizing that we've been talking for like twenty 20. Let me give you this synopsis. King Charles VI declares that Knight Jean de Carrouge settle his dispute with his Squire by challenging him to a duel. Okay. I didn't realize that. Uh, so Adam Driver plays the Squire.
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He does.
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Yeah. And Matt Damon plays Jean de Carrough. Yes, it was a Knight. I didn't realize he was his Squire. I didn't think he was his Squire. I didn't realize he was or to be a Squire is to be everyone Squire.
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Well, he was the Squire. He was his Squire at the beginning of the movie. I feel like when they're going off to war and obviously I think they're fighting the English, right? Yes. Okay. I'm kind of placing that on you as you are the classified historian.
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I told you, I don't know about this story. Okay, well, then you're in the French are always fighting the English. It was during the One 100 war.
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So that's One 100% happening then.
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The tagline for this film is the true story of a woman who defied a nation and made history. Yeah. I mean, it's basically this woman is, uh, raped and she tells it on the top of a mountain and make sure everyone knows under penalty of death.
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Um, not even just death. Like the worst kind of death.
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Oh, absolutely. What was it? Uh, and then burned alive.
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She's shackled, she's dragged through the town, she's stripped naked, she's tied to a pole, and then they set her on fire.
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This doesn't happen in the film, by the way. This is going to be riddled with spoilers. So if you haven't seen, uh, it and want to see it.
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It'S also historical story. And whether or not you feel like it might be spoiled for you, that's fine. I would also point out that it's also incredibly dull.
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Right? I mean, obviously we're not getting into our ratings right now, but if you follow us on Letterbox, you'll know, uh, how we feel already, which is not amazing. No, I fell asleep maybe four times during this film. And granted, if I watch something after nine, 930 at, I'm going to fall asleep.
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I guess structurally, because I don't want to go into the story of the film too much because it's just eat for B is very uninteresting, but it's split into three chapters and I've seen people incorrectly label it as a Rashimon type story. Right. Where it is told from these three different perspectives. And these three perspectives are Matt Damon's, Adam Drivers, and, uh, Jodie Comer. Marguerite. Marguerite. Because I will be slipping in and out of trying to see these guys names and stuff and trying to keep it on course, but I think I'm going to end up just dealing with their star names because it's going to be so much fucking easier to follow.
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Yeah. We're meant to have three perspectives. And I think my main issue. Our main issue.
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Right.
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Is the fact that they're so similar. And I understand you have nuances.
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Right.
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And so one little glance can mean something completely different from one person to another person, and words can be misinterpreted or misconstrued. And I'm wondering if that's maybe what they were going for. It's like we all generally have the same sort of perspective on the situation, but then it's nuanced. But what I have a problem with is that we watch the story almost from start to finish through three different perspectives, and there's only slight mhm changes. So it's like I'm watching like, a really annoying version of Prisoner of Askaband or something.
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Well, the problem is that's a reference, because it's another Harry Potter reference. We've had at least three or four in the last prevailing episode. So that's all I'm going to say.
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She goes back. It's like you already see everything happen, then she goes back as a time Turner and basically watch the whole thing again. And so it's a little annoying to watch this whole thing happen again.
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Well, I'm glad that you appreciate the fact that Harry Potter is annoying. Anyway, let's carry on. So the way that I kind of see this in the way that I kind of see it unfolding is that we're not really showing three separate perspectives. My main problem is when the approach is this heavy handed subtlety is completely lost on you.
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Yeah, I agree. I was looking for the changes because you have moments that are exactly the same. When he shows up, when Jean La Caruge, uh, and Marguerite show up at the party for there's like a birth of a child, and it's a big celebration, and they're going to get back into society. And then what is his name? Adam Driver. Jacques Legree comes over, uh, and they clasp pants, and it's like they're friends again. After all this turmoil in their friendship and all this hardship, it's almost the same exact thing. Every single time.
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They're just showing the same story three times.
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I'm just like, I'm waiting. I'm like, show me something, um, that's a little bit different. Show me something that Legree thought happened between him and Marguerite that would make him want to do these horrible things. And, I don't know, give me a little bit more. Don't make me fucking search for the answers.
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The main problem is each of these three individuals should recite the story from their particular perspective, which means that it should be told in a way that carries favor with their perspective. So, like, spoiler alert. Adam Driver fucking rapes Marguerite. Yes. And because of the way the story is told, we have to watch that twice.
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Yeah. Oh, super cool. Super fucking cool. I got to watch this rape scene again. It's awful.
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God. Here's the, um, um, thing. And this is where we wrap up this whole idea. Let's look at Kurosawa's Rashimon.
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Right.
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Okay. It's basically an examination of how long order is dispensed, and it's through a trial. Ok. And it tells the story of a husband who is murdered and his wife is raped. Okay. And you will always see that, obviously, from the perspectives of the people who feel they saw it because they're on the side of the husband, and the wife will say, this man did it. It's not until later on that we find out that obviously the man who is suspected of doing it unravels the whole story. And what we see is what we finally find out to be the truth. But those stories feel individual, and they run on their own, and it creates a level of intrigue. Now, unfortunately, the minute that you see Matt Damon's story, because it's the first chapter in the story, that is effectively what just mhm happens, and then what we see is the next two perspectives are exactly the same thing, and that's what happens. We just have to subject ourselves to seeing a rape twice, which is one from the rapist point of view. Still fucking horrific.
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It is horrific. You would think that in his own mind, he's convinced himself that, um, he's in love with this woman who is his friend.
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Of course, there's no foundation in the film.
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Yeah. It's like his friend's wife. He's saying that he's in love with her. He's met her once, so it's completely delusional. But fine. Whatever. Women in this time are their objects, and they are property of the husband. So he's also a lathario. But I was expecting in his perspective to at least feel like she was coming on to him. Or maybe he thought she was coming on to him or there was some level of evidence affection. Um, too. But she ran away. So he still chases her up the stairs and throws her on the bed.
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And this isn't his perspective as well. This is his perspective.
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His perspective is still.
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Her perspective is always this woman identical. It's just she's a little bit more scared.
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Oh, yeah. She's horrified. She runs away a little faster in her perspective and screams a lot more. And he also still makes, like, the absolute worst vinegar strokes I've ever fucking seen.
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Yeah. God, I'm waiting.
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You're watching a film. And I know what this is about, and I know that we're in this kind of me too movement, but it feels a lot like it's pushing that kind of me too stuff on you. Yeah, right. And it's written by two men who decided they wanted to do it.
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But also the original book is written by a man as well.
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Also was written by a man. Yeah. And then Matt Damon and Ben Affleck had to bring in a woman. What's her name? Nicole Hollif Center. They brought her in after they had already written the two male perspectives. They go, hey, do you mind writing a female perspective? Because we don't feel right doing it.
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Yeah, that's kind of weird.
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It is a little weird.
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I mean, that's all that weird.
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They already wrote them by the time that she got her hands on it just to, like, flesh this out, because they're like, oh, she's not Marguerite in the book isn't like a real character. She's almost kind of not fleshed out. And so Nicole comes in to write her perspective here's.
25:38.776 --> 25:50.234
My thing is, like, each of their perspectives doesn't feel individual. So you wonder why it's shown in chapters. Just show the film from start to finish. Because it doesn't change.
25:50.272 --> 25:59.870
Yeah. There's a lot of different ways that they could have gone about it. And I understand that you want to make things a little bit different and you want to make this story.
25:59.870 --> 26:09.162
Individual. They are the two main things that this film desperately needed, which was individual perspectives that felt different.
26:09.236 --> 26:11.502
Yeah. There's only way that they were telling them the nuances.
26:11.516 --> 26:36.582
I just don't know when it seems very apparent that the Adam Driver's character has committed to rape. He has then continued to go on denying that he's committed to rape. But it's fairly obvious that from his perspective, in the way that he's doing it, even up until the point where, Spoiler alert, he is fucking massacred by Matt Damon in the last Jewel. He's, like, under the impression that he didn't do anything wrong.
26:36.596 --> 26:58.782
No, he's not under the impression that he didn't do anything wrong. He straight up tells Ben Affleck in the film that he took her against her will. He says that to him and he says, oh, well, he's like, oh, did she protest? He goes, yeah, well, like, a little bit at first, but I love her, so it's fine. He's justifying it based on the fact that he loves her. He thinks that he loves her.
26:58.796 --> 27:05.562
Well, these are also two characters. Like, she eventually would have won partake in group orgies, seemingly on the daily.
27:05.636 --> 27:19.062
Yeah, they like, regularly. There was that moment where, like, Adam Driver goes up to Ben Affleck's door and he's, uh, slamming on the door while Ben Affleck is having a straight up orgy. And he goes, oh, man, Damon is suing me for raping his wife.
27:19.076 --> 27:21.402
And he's like, no, he was suing him for the land take.
27:21.416 --> 27:22.410
It wasn't for the rape.
27:22.520 --> 27:26.214
Oh, yeah, sorry.
27:26.252 --> 27:29.262
The rape seems like many times that Matt Damon sued him.
27:29.276 --> 27:40.014
I don't want to say this, but the rape seems like Adam Driver's character's. Coup Dua to, like, Matt Damon's character. Yeah. Where he's just like, they fucking hate, um, each other.
27:40.052 --> 28:03.246
Even when Marguerite says to Matt Damon, she tells him she was raped and he goes, why is he always doing these things to me? But that's just how it is, uh, like his pride and his vanity and these things that happen to his wife happened to him. It's like Adam Driver did it to him, not to her.
28:03.248 --> 28:33.042
Well, it's a domino effect that seems to be occurring between the two characters. But anything that happens to her is just Consequently is directed towards him. Correct. And the only reason why Matt Damon ended up marrying her in the first place was that her father was desperate to save himself from this drowning pool of debt. That obviously the cousin of the King of France, Pierre, who is Ben Affleck's character. Are we just glossing, uh, over Ben Affleck's hair in this fucking movie?
28:33.056 --> 28:37.914
I do want to talk about the hair. I have a lot of things about the hair on my notes.
28:37.952 --> 28:43.900
Yeah. Hair is a subtle, uh, I have a lot of on this podcast episode.
28:44.014 --> 28:54.942
Uh, so everyone has noticed the hair. Ben Affleck has bleach blonde hair, a little goatee that looks like a Billy goat, and bright blonde eyebrows.
28:54.956 --> 28:57.414
I was like, I just can't get past it.
28:57.512 --> 29:00.822
Absolutely striking. And then Matt Damon's got a crazy mullet. Yeah.
29:00.836 --> 29:05.658
But not based because he's always ready to party. That was the court that they've used for.
29:05.684 --> 29:06.558
Oh, yeah.
29:06.584 --> 29:09.294
That was what they wanted to do. He was always ready to party.
29:09.452 --> 29:31.542
Their idea and their explanation for Matt Damon's hair is that he is so ready to party, ready to go to battle and fight for his King that he doesn't have time to go to the Barber. No. So he would just take his sword or a knife and, uh, just slice off the sides of his hair so it wouldn't get in his face when he's fighting. He doesn't bother with the fact. No.
29:31.556 --> 30:12.894
I will say, though, like, Matt Damon's character from start to finish is probably the most interesting one out of the entire bunch. But he also has a very specific look and a very specific looking helmet that I found quite appealing. Like, I found that whole. His whole look and his design I thought was cool. Whether or not you agree with him playing that character, because I'm honestly, this is Ridley Scott historical drama, One 101. Like, speaks English. Everyone's accents are all over the place. The first time we meet Van Affleck for the first time is like, he brings a bit of the Boston to fourteen, 14th France.
30:12.932 --> 30:50.766
It is rough. So in terms of the accent, they came up with this accent because they said, like, Ben Affleck and Matt Damon, they came up with an accent that didn't sound like any accent because it's the thing with historical dramas, right? They go, oh, we'll do an English accent because English accents sound old. But they can't do that because obviously they are in France and France is at war with the English. So they can't do an English accent for this particular film. But they also couldn't do a French accent. So they just said, we're going to come up with an accent that it won't be like any other accent and everyone will do the same one.
30:50.768 --> 30:55.582
It is such a mess. Like, it is such a horrible fucking mess.
30:55.606 --> 30:57.978
There's a woman in the movie who has a French accent.
30:58.004 --> 31:10.482
Yeah. No, Pierre's fucking wife. Pierre's wife in the movie. Ben Affleck's wife, who plays his wife in the movie, has a fucking French accent, but she's forced to speak English, which has, like, the pregnancy belly. That's like.
31:10.496 --> 31:11.562
Yeah, it looks like a little balloon.
31:11.576 --> 31:45.742
Kind of like a balloon fucking rough. Like, there's a lot of. I, uh, mean, that's the thing. Like, I mean, if you've seen Kingdom of Heaven, you can understand the amount of. Because that's the thing. Ridley is a world builder. He builds it all from the outside first. And he just kind of says, I feel like it's always like his main takeaway is like, he creates the world so the actors are able to flourish. Now, what seems to lack in that regard is he's able to guide those actors to do the things that are right.
31:45.816 --> 31:45.982
Okay.
31:45.996 --> 32:04.378
I feel like part of me is also like, what you should do when you're watching The Last Jewel is if you can get the French dub and put subtitles on it, it would feel a lot more authentic. Yes. Like, big time. You bypass a lot of the accent problems that are obviously quite prevalent here that kind of pull you out of the movie.
32:04.404 --> 32:12.810
We certainly have an issue, but this story is best told by other people.
32:12.810 --> 32:29.378
Potentially the French, potentially because the story itself, the, um, actual story itself is very cool. The idea of this being the last trial by combat in French history, I think it's very interesting.
32:29.414 --> 32:31.378
It's one of the last ones.
32:31.524 --> 32:33.022
Okay. All right, well, either way.
32:33.036 --> 32:37.438
There was one in forty 47. Okay, I going to talk about it later.
32:37.464 --> 32:42.214
Hey, look, they know how to get shit done. I don't know why they don't just bring it back.
32:42.252 --> 32:43.138
Let God decide.
32:43.164 --> 32:50.590
Yeah. Do a Spock and Kirk with it. Like, just throw some fucking sores into a pit.
32:50.590 --> 32:52.502
Like the cable guy.
32:52.696 --> 33:01.270
Yes. Or like that scene in the Star Trek TV show when Kirk fight Spocked. Okay.
33:01.270 --> 33:07.060
Anyway, I have one more thing to say about the haircuts, and you're going to like this. Okay. Ridley Scott came up with those hairstyles.
33:07.218 --> 33:08.198
Uh, of course he did.
33:08.224 --> 33:13.322
And Matt Damon had been affect were like, oh, all right, cool, man. We trust you.
33:13.336 --> 33:15.302
Yeah, no, of course he did.
33:15.316 --> 33:16.658
They were like, that's a little weird.
33:16.744 --> 33:39.458
But, yeah, they are a bit outlandish, I would say, like, the stylings of the film is a little bit outlandish. The only person who doesn't really look out a place and probably not. I mean, whoever plays Marguerite, I don't think she's particularly out of place. And I feel like she does quite a good job. Yeah, she's great with as little as she's actually given is Adam Driver. I think Adam Driver really fits this quite well.
33:39.484 --> 33:44.450
He looks like he belongs everywhere. And he is everywhere right now. Yeah, pretty much he's in everything.
33:44.500 --> 33:58.694
Because the only other thing I saw him in that I would consider, like, a historical drama would be Silence. He looks exactly the same in that he basically walks off Star Wars and he looks exactly the same going into this.
33:58.732 --> 34:02.325
Yeah, he does. That's his trademark look. He doesn't change.
34:02.325 --> 34:07.538
No, uh, I mean, good for him. Thing is, Ben Affleck has some of the best lines in this movie.
34:07.564 --> 34:23.282
He had a great time even. There was an interview I was reading between, um, Matt Damon and Ben Affleck. Uh, and they asked, what's your favorite role that they've done? And Matt Damon said that Ben Affleck's role in this movie was his favorite because he's ever seen him do.
34:23.296 --> 34:38.534
He really does kind of chew at the scenery a wee bit. He's hilarious once he's able to get past whatever he's doing. When we initially see him talk, because you initially see him at the beginning, because it starts at the last jewel at the very beginning of the movie.
34:38.632 --> 34:46.190
Like, unimaginable bits of comedy in this movie that you would never expect, and they almost always come from Ben Affleck.
34:46.300 --> 35:08.766
Yeah. There's a bit where Adam Drivers staying up late, doing some work and stuff like that. And then Ben Affleck comes in and he's completely fucking hammered, obviously still a wee bit sex drunk. And he comes in and he basically takes an Abacus and throws it on the ground, and he goes, recount, you eat. And then as he's walking out, he goes, Sorry.
35:08.778 --> 35:17.678
There's that scene where Matt Damon is having sex. Um, where he's having sex with Marguerite and they're trying to get an air.
35:17.704 --> 35:25.358
Yeah, they have sex. A lot of missionary sex going on. Heaving going on. Of course, as you're always.
35:25.384 --> 35:34.630
As you know, in the Middle Ages, in order to conceive a child, you both have to come at the same time. Did you know.
35:34.630 --> 35:36.282
That? I've heard it. Yeah.
35:36.306 --> 35:37.506
That's how you make a baby.
35:37.638 --> 35:42.758
Um, it's different nowadays because the baby doesn't come unless you're both happy.
35:42.784 --> 35:47.954
You both orgasm together. Yes. In pleasurable sex. And that's how a baby is made.
35:47.992 --> 35:52.210
Yes. One 100% is exactly how it.
35:52.210 --> 36:12.530
Happens. Matt Damon de Caruge asks Marguerite after, uh, they have sex. He goes, I hope that was pleasurable for you. Every time, uh, Marguerite asks about sex, they always ask, uh, do you enjoy sex with your husband? Are you enjoying sex with your husband? And she never can pull a straight face because she's bad at sex.
36:12.580 --> 36:18.902
Yeah. Like I say, it's a lot of kind of heavy heaving missionary shit. That's kind of like, awkward one mission.
36:18.916 --> 36:20.870
And the mission is not to give her pleasure.
36:20.920 --> 37:00.978
No. This motherfucker lays waste to everybody, including her vagina. Yes. So when he's going in there, he's going in there like, he plows a battle at, like, there's a point. Because here's the thing. There is war in this movie, and this is probably the best parts of the movie, other than, say, the last fifteen, 15. Um, and it's basically grim visceral for the most part. I mean, there's a part. Oh, my God. Matt Damon does not give a fuck. His character is just mowing down everybody like a Berserker.
37:01.004 --> 37:01.542
Oh, yeah.
37:01.556 --> 37:57.342
And there's a bit. And I love, um, this bit. Like, there's a scene where he takes part of the chain mail that he takes off somebody else and he Cleaves someone's fucking head with it. He punches it into basically mince. And just before then, as he's carving this path through this batch of soldiers, there's a point where he impales someone with the Hill of his sword. The sword ends up in the ground. The Hill ends up in the ground. And this poor man's face ends up with the blade through the middle of his temple. And Matt Damon forces the poor man all the way through the blade of that sword, basically splitting his head into, like, four different parts before obviously being a man in the face with a piece of chain mail. There's a lot of very cool, grim looking, bloody fights in this movie. It doesn't hurt to see more of it.
37:57.356 --> 38:15.402
Oh, my God. I feel like he's using the fact that she's saying that she was raped by his mortal enemy as an excuse to just fight this fucking guy. Yeah. You know what? I mean, it's not about him defending her honor. It is so much. It's about him defending his own honor.
38:15.476 --> 38:33.018
Yeah, well, he's growing mistrustful of her because she can't provide him with an air. Correct. And again, the point where she is raped, um, six months later, she's six months pregnant with a baby.
38:33.044 --> 38:40.338
But remember, you can't have a baby unless you had a pleasure. Then everyone's angry at her saying, well, you must have found the pleasure.
38:40.364 --> 38:48.438
Well, here's the thing. You just shouldn't let God in the bedroom. That should just be one.
38:48.464 --> 38:53.262
101 is the second film that we've done that's got someone beating the shit out of a horse.
38:53.336 --> 39:21.030
Yeah. Fucking Matt Damon goes to town on a horse, on a stallion with a paddle at one point. Well, the thing is, you see the stallions raging, uh, horsecock direction, like trying to Mount this Mayor. Because there came a point in the movie where we got, like, close to the end. And I'm like, Laura, Where's this deck? Because I'm like, look, the only deck we've seen has been the fucking horsecock that we saw, like, halfway.
39:21.030 --> 39:35.734
Through. I want to get into the Dick scene if there's anything you want to say about the dual. I, um, liked it. I thought it was really cool. And apparently they did it as historically accurate by the records as they could, which is nice.
39:35.772 --> 39:37.006
Wow, that's really interesting.
39:37.008 --> 39:45.298
It was like three passes on the joust and then, like, a hand to hand thing. I'm sure it has a lot more flourish to it.
39:45.324 --> 39:50.482
To be fair, the last fifteen 15 of the movie, which is also the Dixie.
39:50.496 --> 39:51.982
By the way, very muted.
39:52.056 --> 40:17.338
But is the aftermath of The Jewel itself and what we see. But the last fifteen 15 of the movie, I remember seeing, uh, it at the end of the movie, and obviously I feel like an idiot now saying it, but almost kind of redeemed some of the faults that the movie had during the course of its telling of this story. But, I mean, I take that back now because I rated this film accordingly.
40:17.484 --> 40:36.442
Yeah, I don't really go by those standards. Uh, I've got to be gripped through the whole thing. But anyway, tell me about. Is there anything that you want to say about the dual that you really liked? I don't really remember necessarily anything in particular because it's all just a mash of metal and grunting.
40:36.456 --> 40:53.798
I think The Jewel from start to finish is very cool. It's very interesting. It's very gripping, because this is the only part in the movie where I was like, this motherfucker better kill Lady Driver. He has to succeed in this mission.
40:53.834 --> 40:56.146
Otherwise we wouldn't know the story.
40:56.328 --> 41:18.030
No. But then also, it's kind of like we already know what the outcome is, but it's able to grip me, at least to a certain degree, where I was like, yeah, I want him to fucking massacre this man, because I'm like, yeah, you can't get away with this. Of course, fuck them. And, I mean, he dispatches him in a fucking brutal.
41:18.030 --> 41:18.322
Way.
41:18.336 --> 41:41.206
It was good. It's really cool. Uh, that stuff is really cool. And when fucking javelins are fucking or jousting posts, what would you call them either way? When they're splintering against Shields and stuff like that, and you can see the impact that they've hit them with. And then when they get on their feet and they start fighting with their fucking wedding.
41:41.208 --> 41:52.378
The fact that they were able to do three passes in the joust is really quite something and not fall off their horse. Uh, yes, it kind of dance to how strong these dudes are.
41:52.464 --> 41:57.646
Yeah, no, it was fucking madness. But like we said.
41:57.648 --> 42:01.462
That'S why I, like going to Medieval Times so much. Have a nice dinner show, watch the joust.
42:01.476 --> 42:10.618
So they have, like, three passes with splintering wood and shit like that. Cool night wood stuck in your fucking, uh, rotisserie chicken that they've gave you?
42:10.644 --> 42:11.446
Yeah, absolutely.
42:11.448 --> 42:14.098
Do you only call the waitresses? They have. They call them wenches.
42:14.124 --> 42:19.394
Yeah, they sure do. And then the wench refills your Coca Cola.
42:19.442 --> 42:20.698
Pepsi. That's right.
42:20.724 --> 42:30.346
One time, uh, Pepsi wench. I went to Medieval Times for my birthday, and, uh, I was picked by the Green Knight as, like, his lady that he was fighting for.
42:30.348 --> 42:31.822
All right. Yeah, okay.
42:31.836 --> 42:34.546
I didn't even know it was my birthday. I just got picked.
42:34.668 --> 42:35.542
Okay, there you go.
42:35.556 --> 42:36.898
And I have a little sash.
42:36.924 --> 42:39.694
How old were you?
42:39.732 --> 42:43.150
Too old. I don't know. It's probably like, twenty, 26.
42:43.200 --> 42:54.082
Twenty 20. Oh, fine. I thought you were like, a teenager in the green light giving you the wink. I'd be like, hey, yeah, it's gross. Enough of that. You're not actually in the Green Night consistently.
42:54.096 --> 43:04.258
The bad night, the evil night. So he'll never win, by the way, um, having Evil Times spoiler. We're at the end of the film, it's going to be spoiled. Adam Driver gets murdered.
43:04.284 --> 43:40.906
So, yeah, he tries to get him to confess. Yeah. Sticks in his throat. Well, no, of course not. Well, God's will does not favor Adam Driver, Unfortunately. So he gets it in the fucking mouth. You can hear, like, the blade grinding against his teeth and stuff like that when he puts it in, like, it's fucking really awful. It's gross, and it's awesome. They're lauded, they're applauded, they're sent, uh, through the city as heroes. And then that's also intercut with this moment where they strip Adam Driver's dead body's clothes.
43:40.968 --> 44:03.314
Little kind of dipie that he's wearing pretty much diapee cloth. But I remember watching it, and I'm like, oh, my God. We, uh, have, what, five minutes left of this movie or less? And I'm like, where is that penis? Because I, uh, knew going into the movie that Adam Driver is making this movie, but I also knew that he was dead. That's what was told to me months ago before I even saw this film.
44:03.482 --> 44:03.938
Spoiler.
44:03.974 --> 44:04.906
Totally spoilered for me.
44:04.908 --> 45:05.938
So I guess probably because of the way this scene kind of comes about, I guess this is where we'll probably have an argument about it to some degree. But they drag you and I potentially because the more I think about it, the more I'm kind of like, is it actually his Dick? And it's probably not. Okay. But here's the thing. Like, they strip his body off. They basically drag him through the arena and through town by horse, attached these legs, and he is fucking dead. And the next time that we see them, they're cut with them going through town, being lauded and things like that. It's like, yeah, truth has been served. God's will, wherever. And they strap them up upside down on this platform basically to display them to the crowd to be like, look, this is what happens when you lie. Yeah. God will out you. Right. And this is obviously where we see it.
45:06.024 --> 45:10.990
Yes. This is the scene. This comes in at the very end. Like we said, two 2 hours.
45:11.040 --> 45:17.662
21 and fifty 50 seconds movie is two 2 hours. Like two 2 hours, 32 or something.
45:17.676 --> 45:31.342
So it's right at the end. But they string him up by his feet and they hang them there. I, uh, don't know. I don't know if it's Adam Driver. They probably didn't string Adam Driver up by his feet.
45:31.356 --> 45:40.102
There is no way the strong Adam Driver up. It wasn't a CG, man. It's rubber, man. Rubberman. So. Rubberman.
45:40.176 --> 45:53.110
Yeah. Okay. Well, it was also far away, so I don't know, but it was quite graphic, regardless of whether or not. I mean, it's meant to be Adam Driver. So as much research as I can do, I don't know.
45:53.160 --> 46:23.338
The amount of gratuity just in this ending sequence, like this last fifteen, 15 of the film is just something that's completely lost in the rest of the film, which kind of just has this clean, manufactured quality about it, at least. Like when we have those last fifteen, 15, you feel like it's very real. It feels very visceral. And you're like, disturbed by it to a certain degree.
46:23.364 --> 46:33.610
I want to disagree with you a little bit because I felt fairly disturbed for most of the film because it's intercut with those war scenes and then you get the double rape.
46:33.720 --> 46:39.214
Which fucking sucked, I would also say, like buying those things you've mentioned. Right.
46:39.252 --> 46:41.290
Because obviously a lot of the movie though.
46:41.340 --> 47:31.522
Yeah. But that's not all of the movie. There's also a lot of the stuff that you're going from scene to scene because again, like Ridley's directing style, at this point, it goes from blue if it's outside to Orange if it's inside. And if it's inside during the day and you see a window, it's also blue. But if there's a fire going, it's also Orange. So it really basically goes into these two color casts the entire time. But for the most part, because of the way that that is, it feels incredibly manufactured. And at any point, it feels like it loses a lot of his authenticity. And here's the thing. He's such a great world builder. The problem is this story itself feels incredibly insular. And it's very much actor focused, because it's just basically a film that set itself in a bunch of rooms and focus, having conversations. That's basically all it is.
47:31.536 --> 47:35.506
And then horses running here and horses running there.
47:35.508 --> 48:01.486
At least the fighting. At least the fighting breaks up a little bit. And obviously, unfortunately, we have to see a rate twice, because I don't know, for whatever reason, we needed to see it twice. Yeah. Other than that, because of the way that I feel that the whole thing feels very manufactured. It feels very kind of pristine, which is not something I kind of want in my dirty, grungy war drama. Like, I really don't want that.
48:01.488 --> 48:02.426
It could have been dirtier.
48:02.558 --> 48:03.802
Uh, could, uh, have been dirtier.
48:03.816 --> 48:16.558
It could have felt a little bit more authentic when you're watching a movie set in this age, when you're in the fourteen 14th. I feel like I can smell the film. Yeah. I didn't smell anything. No.
48:16.584 --> 48:58.414
I only thought that was something I got from watching Kingdom of Heaven. And I don't think Kingdom of Heaven is a great film. I would say if you are going to watch it, watch the four hour directors mhm cut, because at least, you know, when characters leave, as opposed to they just don't turn up again. I would say, at least with that, there's an energy about it. There's a kinetic feel about how everything is. And it feels muddy, it's dirty. It feels like you get like if someone is bleeding, there's mud in that cut. Like it feels like everything right. And obviously his filmmaking has gone on. I feel like it's just going a little cleaner.
48:58.512 --> 48:58.702
Yeah.
48:58.716 --> 49:03.910
I feel like this is one of the cleanest films he's ever made.
49:04.020 --> 49:07.642
Especially again, for being in the fourteen 14th. Very weird.
49:07.836 --> 49:10.582
Yeah. It just needed to feel a bit dirtier.
49:10.596 --> 49:18.870
I don't know. I mean, the dirtiest part was when Adam Driver was strung up on that.
49:18.870 --> 49:38.002
Platform. Yeah. That whole fifteen, 15 minutes where they're fighting and then obviously ends up with this. Obviously this crescendo of his body being displayed and stuff like that. Like, we already kind of mentioned they should have just cut out two of the perspectives and then just told her story. She just told her story.
49:38.016 --> 49:43.290
Which is the true story, because nothing changes. Okay, I'm not going to argue about this.
49:43.290 --> 49:53.758
No. It ends. It ends with her. With her son in the field. And then there's two title cards that basically say Matt Damon died during the Crusades a few years later.
49:53.784 --> 50:01.650
Which is fucking awesome. And then she never remarried. Goddamn right she didn't need to get remarried.
50:01.650 --> 50:05.970
No. The man in this film were.
50:05.970 --> 50:27.422
Scum. I kind of went through everything that I wanted to say and stuff that I didn't even want to say. Wow. There aren't really any accolades out into so much because, um, it's new and anything, uh, that has come out that are award like it doesn't want anything.
50:27.446 --> 51:07.282
I'll be surprised if it did. Well, here's the thing because there's a lot more behind like what Ridley feels people should be going to the cinema to see. I find it hard that this is the Hill that he wants to die on, uh, when basically in the same year he releases The Last Jewel and House of Gucci, two pretty much mediocre experiences. House of Gucci may be better. Yeah. But it doesn't do anything special. It just kind of tells the story. And to be honest, you could cut the two films together and be like, oh well, they look exactly the same.
51:07.296 --> 51:08.278
Yeah, it's blue.
51:08.364 --> 51:19.930
Yeah. His films have, um, progressively got more blue even to the point where when he released the final cut of Blade Runner, all he did was he just put a bunch of Blues in the mid tones just to try and distinguish it from his director's cut.
51:19.980 --> 52:18.454
Yeah, I did want to talk about this thing that made me laugh when Ridley Scott went on Mark Marron's WTF podcast. Um, okay. And Mark Marin asked him why the last Dual grossed twenty 27 million on a budget of one 100 million and made more sense, but not that much more. It's like sitting at thirty, 30 million. Okay, Ridley Scott said back, I think what it boils down to what, uh, we've got today, our audience who were brought up on these fucking cell phones, the millennials who do not ever want to be taught anything unless you tell it on the cellphone. This is a broad stroke. But I think what we're dealing with right now, um, is with Facebook. This is a misdirection that has happened where it's given the wrong, um, kind of confidence to this latest generation. I think so. Apparently the millennial generation is not allowed to have any confidence and because, uh, we have too much confidence. We don't like his movie.
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As a millennial myself, I don't feel like I have any confidence whatsoever.
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But yeah, I think that he just doesn't understand this generation. Uh, no, we're not suffering guys.
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We're, uh, suffering. No, I would feel like personally, maybe you can blame the marketing and stuff like that, but maybe twenty 20th folks just didn't want to put a film about rape at the forefront of there.
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No. I saw the trailer of this movie and I laughed. I go, what the fuck is this? We already talked about the hairstyles. It's absolutely wild. I thought it was funny and then I realized what it was about. I'm like, oh shit, okay. It just feels weird. This is right up my alley. I love period dramas. Give them to me.
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And then this is just. I love a medieval movie. Like, I love that stuff. I think that stuff is super cool. That's why I got excited about Ridley doing the Crusades, because on paper, you're like, Fuck, yeah, that's going to be awesome. But then when you obviously see the film, you're kind of disappointed by it, in a way.
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Okay. So do you know what I would have wanted in this film?
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What's that?
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A scene where Matt Damon and Ben Affleck, um, actually kiss each other? That scene was shot, right? Yes. There was a cut scene from the wedding. So you know how you have this kiss of peace, which is actually quite normal, like in the medieval, like, nuptial, solemn ceremony?
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It's like.
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It's like the kiss from God, and it extends down to everyone. Apparently, it would have been to everybody in the ceremony. So, like, the guests and everything. It would have been the moment where a Matt Damon would have. He gave his solemn kiss to Ben, uh, Affleck. And they said it was their first on screen kiss, but Ridley Scott cut it because he said it would be too distracting.
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Yes, that's too distracting. Uh, I'm just going to make a joke, but I don't even think that's funny either. Ryan. Yes?
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Would you recommend this movie?
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Um, see, this is a really hard one because I felt like, uh, there were parts of it where I was like, Look, I want to enjoy this. The problem is it does a very good job of just pulling you out of the entire experience, and it just ends up being one of those, like, trademark Ridley Scott like, period pieces where the stuff that's done really well, like the fighting. And I guess I would say how it looks, but, I mean, I don't think that's particularly true.
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There's a lot of candles in the design, perhaps. Yeah.
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Well, here's the thing. There's been very good examples of films like this done this way. And I'm like, oh, there's loads of candles in this movie. And I'm like, oh, Barry Lyndon has a bunch of scenes that were just lit with, um, candlelight. And it's like, well, why didn't you try and do something like that? It's a little bit easier now, obviously, with the advantage with digital technology and things. And I'm like, well, there's just nothing particularly remarkable about this film. And there's certainly nothing in this that makes any different from some of the things that he's made before. And I guess we've spent almost the entirety of this episode pretty much shitting all over it. And the problem is, it doesn't come from a place where you're like, oh, this is weird. So it's not like an in the cut situation. I'll always kind of refer to that. It's like my barometer for quality. But at least within the cut, like, I could pick out certain things and be like, that's fucking weird, right? With, um, this one? I'm like, well, it centers on a rape and it then centers on these perspectives and it feels like it's whole trajectory and its perspective from the writing team in particular. And if this is the same as how the books written, then for fuck's sake, what the fuck were they thinking? Like, there's so many missteps and there's so many things about this film that just there's parts as well, which I noticed. And I'm watching it where the camera will move unnaturally. It will track somewhere. But then the only reason for the camera to move at any point would feel like it was leading you towards something in some sense of the emotion. And then it cuts back to something else. It comes back cameras back where it was before. And you're like, oh. So I kind of feel like maybe the last Jewel is another one of those Rudy Scott moments where what they shot was maybe for something that's a three, four, maybe five hour film, which he tends to do. And he'll probably release a director's cut at some point because he does this all the time. Yeah. So maybe we will see an extended version of this movie. But I'm like, um, why the fuck would you want to correct? Certainly when the very basis of it and what you're expecting it to do. It missteps very hard on just those very basic, simple things of just like trying to tell a story from multiple perspectives when effectively all it does is it just tells the same story with the illusion of it being from different perspectives. You should have just told the story, made it shorter. Editor the fucking Jewel quicker because that's the best bit in the entire movie and just fuck all the rest of it.
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I agree. I think trying to put that artistic flair in telling the story in a different way fell absolutely flat in my opinion.
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And I mean, we already have a fantastic example of how a film like that is made.
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I personally would typically not recommend this movie, and I don't think I've ever said that before on this podcast. I did not like this movie. I did not enjoy it. I fell asleep a lot. Not only because I was bored, it's just because I just didn't like it. There were things that made me laugh, but it felt out of place. And I didn't like being subjected to that rape scene two times. If this had been made differently, like what we were saying, I probably would have liked it a little bit more, maybe felt more engaged. But no, I think what you could do and if you wanted to watch it and you're like, oh, guys, you shot on this movie this entire time. Maybe you could watch it and then fast forward to the end and then you could watch The Duel and you'll be like, that was fucking awesome. And then turn it off. Yeah. And then you'll be satisfied. Be satisfied with that? Personally, that's what I would do.
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That's the thing. The only reason to see horrible things like that, like, more than once, is to get a different idea on why it happened or how it happened. Not just tell us the same thing, but from a slightly different, um, camera angle. It's like basically they did the exact same thing. They just used two slightly different takes.
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Yeah. And that was it. One more irate.
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Yeah. But basically they lead towards the same thing and the takes are effectively the same. Oh, no, absolutely.
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I'm just disappointed in terms of ratings. I gave the penis scene two out of five stars for visibility and context.
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There's so many issues with the film, just in general by the time we came to rating it. See, I like that moment in the film. I don't know if it appeals to my darker nature, but stuff like that, I don't know how much of that we'll see going forward on the podcast, so, I mean, I quite liked what they did there.
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Are you talking about the nude scene? Yeah.
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Okay. But there's a big but it's just, um, too little, kind of too late, and it's just a fucking rubber model. That's all it is. I know it's meant to be Adam Driver, but it's just a rougher model. What's your rating?
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One.
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Okay, yeah, I'm just dive bombing on this.
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What's your rating of the final film? For the final rating of the film.
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So I think when it finished, I was like three and a half because that last fifteen, 15. Um, I was like, it was going to start and I'm like, I'm, um, starting to think about it and I started thinking about what Ridley was saying about it and then just like, kind of hit the whole history of it all and I'm like, why is it our fault your film didn't succeed, sir?
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Yeah, um, I very much agree.
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I'm like, I just watched it. I just watched it. I didn't even bother going to see it in the goddamn cinema.
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I did want to see it in the cinema.
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And I was like.
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Line up properly with her.
00:53.128 --> 01:08.982
I was like, why do you feel like it deserves more than what it's getting? Like, why do you feel that way? He loves in the movies and I also love this man and I love the things that he does. But sometimes you got to call someone out and be like.
01:09.066 --> 01:11.238
Yo, so what did you rate it then?
01:11.394 --> 01:17.066
Overall, after because of everything else that surrounds this movie, it probably deserves a one.
01:17.128 --> 01:49.760
Well, I gave it a two. I gave it a two star rating. The film. You've already heard me complaining. I'm not going to go on and on about it, but, um, I did not find pleasure in this film. I did not enjoy it. Hate. Um, it. I hate a lot of things. Yeah, but I've seen a lot of good things lately and this one wasn't one of them, which is sad. I was pretty excited about, uh, this movie and yeah, instead of, like, a real Adam Driver Dick, we got like, what was probably like a body.
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Uh, bag, a rubber cast.
01:51.706 --> 02:26.270
That's it really I didn't even describe why I gave it two stars. So with the Dick scene in itself, it's far away. It would just pretend like it's Adam Driver it's far away and then it turns around so you don't really get a terribly good look at it, which is so gross to say because it's like such a fucked up scene. Obviously, visibility is poor and context very poor but I'm happy about that context because he got what he deserved.
02:26.270 --> 02:32.942
Yeah, no, I mean, I just think in terms of it's just too little too late by that point.
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I'm sorry to put you through this, Ryan, but we'll maybe have a more fun one on the next go around. Uh, but I appreciate you chatting with me and arguing, uh, about this film.
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Yeah, no, it's, uh, been fine. Hopefully the next one we do is better.
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I'll pick a better one next time. Thanks, fuck. Well, coming to you from a very uncomfortable place I have been, Laura.
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Um, Unfortunately, I'm still Ryan.
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Thanks for being here, guys. And we'll catch you next time. Thanks so much.
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Bye bye. Uh, bye. You know where that bye bye comes from? Drew Barrymore's character in E. T. Oh, really, bubbai?
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Um, there was an SNL sketch back in the day where they were airline and they go bye bye bye.
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Yeah, no, mine comes from Rob Schneider comes from a more reniscent place. So you go.