#227. 'Ferrari'
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The main event is Ferrari, Michael Mann's long-gestating film (in development since screenwriter Troy Kennedy Martin's death in 2009) about Enzo Ferrari's make-or-break 1957 season, starring Adam Driver, Penelope Cruz, and Shailene Woodley. Sonny calls it an unusually intimate Mann movie, one preoccupied with fathers, sons, and legacy rather than the alpha-male professional excellence of Mann's usual subjects, and singles out the climactic forty-minute Mille Miglia road-race sequence as among the tensest car racing ever put on film; Mike agrees, loved the movie, and says he grew in his appreciation of Adam Driver's ability to act through pure facial expression and body language, though he found Shailene Woodley the weak link of the three leads. JVL never got to see it - no theater within 22 miles of him in New Jersey booked it, which he suspects of anti-Italian discrimination - so he did his "homework" by rewatching Heat instead, delivering an extended appreciation of that film's supporting cast (Kevin Gage's terrifyingly convincing Waingro, Ted Levine, Al Pacino's operatic, almost sung-word line readings against Robert De Niro's buttoned-down stillness) and floating a future full Heat episode. The first third of the show is classic Sub-Beacon tangent territory: JVL crows about scoring twelve closeout pairs of his discontinued Prana Axiom jeans on Amazon; Sonny riffs at length on the Stanley Cup tumbler craze and his daughter's Gollum-like devotion to hers; a viral story about a bridal party commandeering a coffee shop for an unbooked pop-up wedding sends Sonny into a monologue about his pathological fear of inconveniencing anyone; Mike recounts taking his easily-spooked nine-year-old to the extended edition of Fellowship of the Ring at the Alamo Drafthouse for his first-ever viewing; and the crew marvels over Anyone But You's freakish box-office trajectory, grossing more in each successive weekend of its run.
From the show notes
Denims! Stanleys! Sweeneys! Manns!
Full transcript
Guest00:00:00Two objects cannot occupy the same point in space, in the same moment in time. The corner races at you. You have perhaps a crisis of identity. Am I a sportsman or a competitor? If you get into one of my cars, you get in the wind.
Mike00:00:39Welcome back to another episode of the Sub-Beacon Podcast. I am your co-host, Mike Warren. I'm joined as always by my two co-hosts, who are two objects who cannot be in the same place at the same time. Jonathan V. Last and Sonny Bunch, join us over at Sub-Beacon.com. I usually say here you get episodes every Friday. Of course, we're releasing this on Saturday. It's a little Saturday special for all of you. Normally, on Friday mornings, get those bonus episodes on Monday mornings only at Sub-Beacon.com. Join us there. You can comment. Everybody has a grand old time in the comments over at Sub-Beacon.com. I'm a patron and we'll see you over there later in this show. We'll be talking about Ferrari. But first, how's everyone doing JVL?
JVL00:01:38You got some denim talk for us, got some denim updates really good. And I owe I owe you guys the people because one of you texted one of you, one of you listeners texted either Sonny or Mike and said, actually, it was a comment. Well, thank you guys. I don't read the comments anymore because people always mean to me, but I appreciate you who was nice to me and said that the Amazon was still holding stock of Prana axioms. And so I went and I currently am the owner of 12 pairs of Prana axioms. Oh, it's so great to know the comfort and the sense of serenity that comes from knowing that you have a dozen pairs of these. These jeans now just sitting there sitting there waiting for me and whenever I need them, it is it feels like freedom you bought.
Sonny00:02:35So you bought you bought a dozen pairs of these instead of three pairs of Japanese salvage denim. Yes. My understanding. That's that feels like a mistake.
JVL00:02:45I feel like you got to go because these were closeouts because these were closeouts. I wasn't buying them. I was buying them at like 70% off of the sticker price, so it just a great. Deal all around. Of course, I'm still working on the used pairs of jeans. I'm still trying to bend them. Bend that denim to my will to your will. Yeah, I do have a question about the Japanese denim because that is a whole thing as well. If you want Japanese denim, you're going to pay extra for that because evidently the Japanese do denim slightly differently and better than everyone else. Part of me is curious yellow that I just I would like. To just experiment just your once.
Sonny00:03:28No, no, no, no. It's I am curious blue.
JVL00:03:30Oh, I'm curious blue. I would like to try just one pair of Japanese denim just to see what it's all about.
Sonny00:03:40That's your bucket list.
JVL00:03:41Jean slip into some Japanese denim. I think it is. I just, you know, just like to sample it anyway. It's all good. How are you boys? What's going on? Sonny, what's up?
Sonny00:03:53Not a whole lot. Are you guys familiar with? What is happening in the world of, uh, ladies? Water cups. Oh yeah. The Stanley.
JVL00:04:03The Stanley craze. You're talking about this and not the pop-up weddings. Cause I'm, I really want to do both. Can we do both?
Sonny00:04:09We got time. We got time. We got plenty of time here. I, I mean, I don't have a lot to say here, but it is, so there's this, this is bizarre trend of, uh, of, of upper middle-class women going out and buying these thermoses, the Stanley, like 40 ounce. Thermos water with the straw and everything. And, uh, and, and there, there's madness. People are lining up at target to get the new beanie babies. It's kind of like beanie babies. There are slightly more useful than beanie babies, I guess, a little more of a status
Mike00:04:41symbol too. But yeah. It was like collectible.
Sonny00:04:44Yeah. And this is, but this is so like, it's, it's gotten to the point now where like my daughter wanted one for Christmas, right? Like, so, so, uh, my, my, we, we, we got her one, but we got her the wrong one. The wrong kind of Stanley, like the knockoff. No, no, it's a Stanley, but it's like a, it's like a, it's like a, um, it's like a smaller size. It's like a, like a, it's, we got it. So it would fit in her backpack.
Mike00:05:07You didn't get, you didn't get her, which I've seen this online because before Stanley made these trendy cups, like they also made like legit thermoses, like, you know, that's
Sonny00:05:18what they were known. That's what I knew them at. I was like, I know, I know what I know. I was like, yeah, I know what Stanley's are there. Like the camping.
Mike00:05:24I've seen the video of the war. A woman whose husband got her a Stanley cup. And it's one of those, like, it looks like you're taking it to, uh, you know, to the, to the coal mine. Yeah. And it's got your, it's got your tomato soup in there for lunch. And she's like outraged. She's like, this, this is, this is not, this is not what, but that's a Stanley or it wasn't.
Sonny00:05:45Right. So the only thing worse than not having a thing, as we all know, is having the wrong version of this thing because like, it's one thing if you don't have the thing and like, you don't have it, it's one thing, but then if you have the wrong version of the thing, it looks like you're trying to have the thing, but you didn't get so, so obviously we had, we got her, we got her the right one.
JVL00:06:04Uh, and, and, and it's like, yeah, does she, did she open the package on the right one?
Sonny00:06:12Oh yeah.
JVL00:06:13Oh, she didn't keep it in the pristine packaging. Did she use it or did she send it off to have it graded because I assume that what you would want to do is get a PSA graded to just keep your Stanley water cup in its plasticine, you know, bomb proof case holder to collect the way people do with the Funko pops or or the comic books.
Sonny00:06:32Did you see that? Did you see that there CGC is offering this now for a physical media. You can send your VHS or your DVDs and they'll grade it for you. Anybody who does that should be put in a camp and anyway, so, so, uh, so anyway, so we, she gets, she gets the wrong one and she's like, Oh yay, Stanley. And we're like, what's the matter?
JVL00:06:55She's just like, no, it's fine.
Sonny00:06:56We're like, what's the matter? So, so we get through, so, uh, we, we wind up, we wind up going and getting her the right one. Cause you know, we're, we're slaves to the system.
JVL00:07:05Did you pay markup on eBay to get it or did you get it from Target for street price? No, no, we just, we just go to the store. We just go to the store.
Sonny00:07:09You just went, you could, you could still get them like anywhere. It's not like they're, it's, they're not hard to find except for these like limited, there's like limited Starbucks or limited target ones. Right. So there is like a beanie baby element to certain parts of this, but like for the most part, you just go out and get it, whatever. It's neither here nor there. I just want weird dumb things all the time. I don't, I don't, I don't mind that that much, but she, she is now like, it's like attached to her hand. We were walking to school the other day and she was kind of swinging it around and it was leaking a little bit. Cause the lid wasn't on quite all the way. So I was like, here, I was like, here, take my coffee off. You know, screw this on. She was like, no, mine was like, like fucking Gollum with the, with the one ring. And I was like, I was like, well, I. First of all, you need to get your, you need to check yourself before you wreck yourself, ma'am. I will put that thing straight in the trash. When we get home, I will throw it in the garbage, but, but like, I mean, it's like, it's an, and I, it's funny, uh, my wife, my wife said this the other day and she's absolutely right. Like the schools are gonna ban these things by February because they're everywhere, but they're also just getting left everywhere. Like for instance, I was, I was picking my daughter up to go to a dentist appointment and she. Came out of her room and she didn't have it. I was like, do you want to bring your water cup? She was like, and like froze on the spot because she didn't have it. So she had to run back to her class, get it, run back. We are almost late to the dentist appointment as we're leaving, as we're leaving the front office of the school, uh, a mom is like dropping her kid off and as she's leaving, she like looks down at the table. She's like, oh, somebody left their Stanley here. And the look on the face of the, the women at the front desk were just like, kill me now. Cause we're gonna have to figure out, we're gonna have to track down. Who's this is. We're gonna have to, you know, and it's like, I, I, I don't understand. I don't really understand where this came from. I, I read up about it a little bit, but like literally what happened was a new CEO came into Stanley. He said, we want to target. We don't, we, we, our sales are $45 million a year, which is nice. We want to target the female demographic. So what we're gonna do is we're gonna make Stanley's in different colors and we're gonna have people talk about them on TikTok and now they're doing $300 million.
Mike00:09:26A year, but see, this is all trickled down. What you're seeing with the kids, this is all trickled down from the, from the women, from like the, the, the modern, the modern moms, like the ladies who lunch, but they're like, like, and, and they're all over, you know, look, I'm, I'm a millennial. So I watch TikToks on Instagram and like, and, and like two months late, but like you are behind already Sonny on this trend. Like this has been going on for well over a year with the Stanley and it's really only the latest iteration and maybe the greatest iteration because there have been other trendy water bottles.
Sonny00:10:02I mean, look, I'm, I'm holding a, well, there's like the Yeti bottle Stanley has supplanted
JVL00:10:06the Yeti, but without challenging the Yeti on quality. Right. Because the whole idea of Yeti is that it's like way over-engineered.
Mike00:10:13Yeah. But there's also, there's also grades of Yeti, like you can get like what is essentially Yeti branding of a cheap, relatively cheap cup, like it's still more expensive, but it's more like the, the. There are true. There are the true Yeti thermoses. And I, I don't know the details. I just know I have a couple of like, clearly like they're good Yetis, but they're not great Yetis. Um, and of course Yeti is really, it's all about selling the coolers, um, and, and. Yeah. Like the $900 coolers. The, the status symbol thing is what's important. Right. Because. Right. There's, but they also all serve like slightly different markets. Like Yetis are for, they're more red state America, um, for sure. Um, they're. They're certainly is sort of a outdoorsman hunting, hunting to fishing, to tailgating an sec game. Yeah. I'm gonna say football games. Yeah, exactly. Yeah. Like that. Like I say, outdoorsman, like very broadly, like it's like again, red state America. And then, then you have like, there were hydro flasks, which were a couple of years ago,
JVL00:11:18which were sort. Oregon thing.
Mike00:11:20Yeah. But also kind of, they got really in, I think like, like teenagers got really into them quickly. And it was sort of a status symbol with, and then, but like there, like this has been going on. When I was a kid, there was Nalgene. Remember Nalgene bottles? That was like. Oh, the Nalgene. Yeah. That was a, that was indestructible. Yeah.
Sonny00:11:38BPA free. Exactly. Um, I still have, I, I have a version of all of these bottles in my house, by the way. I've got a Nalgene bottle. Yeah. This is a, yeah, this is a Tervis.
Mike00:11:48Is that Camelbacks? Yeah. That's Camelbacks. Yeah. Of course. Camelbacks. Yeah. So, I mean, it's an interesting sociological. Uh, area of study for like, why is the water bottle such a status symbol, but.
Sonny00:12:04What's the pimp cup of the suburban mom. That's right. That's right. Jewel encrusted. But also.
Mike00:12:09Chalice. All of our kids drink way more water than we ever did as children. Yes. So like water is like a thing that is water itself deserves like sociological in mind. Like what are we doing? Drinking all this water?
Sonny00:12:24Uh. Why are we? Why is big water in all this? Where did, when did big water get their, their hooks in us to, to force their, you know,
JVL00:12:35pure filtered nonsense.
Sonny00:12:37I, uh, I know it, it is, it is fascinating on a, on a bunch of different levels, but again, it like, it just kinda, just kinda happened here out of nowhere. All of a sudden my, my daughter is a character who out of like, uh, uh, requiem for a dream. A thing from her. And it's like, uh, it's, it's a disaster. I like, I don't understand what's happening. She, she, she, she, I, I don't want, I don't want to go on and on about the Stanleys, but I do find it. I find it fascinating because literally like, again, every story that I've read is basically like new CEO came in and did new colors and put them on Tik TOKs and increase the business tenfold. And it's just like, that's, that's why you're paying him a big bucks.
Mike00:13:20Yeah. It's a great story. I, I think that's a, that's, I love stories like that. Um, it's like the BR what?
JVL00:13:26I, I was just gonna say my sense is that for whatever it's worth, what has happened is that water has displaced soda and juice, which is what my generation as kids, everything we drank was like juice. So much juice. Yeah. Was it real? No, it was all like canned stuff that was, you know,
Mike00:13:44And by the time Sonny and I came around, that was a, that was a marketing ploy. It was like a hundred percent real, a hundred percent real juice.
JVL00:13:51And I think what this is basically, we just crowded out all that sugar and replace it with water. Which is much better for the kids.
Sonny00:13:57No, I think that's, I think that's basically right. I mean, I think this is actually, it's actually a very big positive having, having the kids drinking the, the, uh, you know, not, not soda, not juice all the time. That's, that's a, that's a big win for society, frankly. Um, but, uh, yeah, it does, it does have weird downstream effects like water bottle wars.
Mike00:14:19Hmm. Should we, uh, should we talk about the wedding in the, uh, in the outtakes here? Please.
Sonny00:14:25Please. Should we talk about the wedding in the outtakes? We want to do that.
JVL00:14:28I don't know.
Mike00:14:29I mean, no, that's a full discussion. All right, let's, let's have it then. And I'll maybe I'll talk about my, my, my, my week, uh, in the outtakes. Go ahead. Sonny. Bring us up to speed. What's going on?
Sonny00:14:39Well, I mean, it looked this, so the story went viral last week, uh, a, a historic coffee shop in a historic mansion. It's like a very nice Instagrammable place. Like you go there and you take pictures and you drink your little coffee and you go on, but this, this. The coffee shop, uh, posted something about how a wedding party just showed up. Didn't book it or anything just like rolled in with groomsmen, bridesmaids, uh, uh, and like, and the wedding, the like people coming to the wedding, but also like the officiant and the photographer, the guests, the guests and did, and did the ceremony in the, in the, uh, in the coffee shop again, without booking it without reserving it. Um. You know, we're, we're, they like took up the whole store. They were putting their jackets on everything. They were blocking off the entrance to the parking lot, um, staff to take the, like, like they're asking staff to take their coats and et cetera, et cetera. And like, uh, and, and the, the coffee shop basically just had to let it happen. Cause they were afraid of getting canceled if they put a stop to the wedding and, and when they reached out to the bridal party, they were like, Hey, you know, this is fucked up. We, we have like a, we have, you know. Yeah. You can rent the place for $500. There's a minimum food by whatever, but like we have a, we have a process for this. Everywhere has a process for this. You know, why would you do this?
Mike00:16:05And they were like, ah, we'll give you 200 bucks for donation donation.
Sonny00:16:10Like it was out of the goodness of their hearts that I, I, I just saw this story and I thought to myself, I thought to myself, like, first of all, this is brilliant. I should have done this when I got married, I should have just rolled into the hotel lobby and been like, Hey. Let's go. We're getting married, getting married at the Renaissance on M street. That's not, it's rebranded as something else now. So you can't find the historic bunch wedding site. But the, but the, um, uh, but like also who, who does this, who just rolls into an establishment and takes it over and acts like they own the place when, when we all know we, we all decent members of society know that there's a process for things like this. You gotta, you gotta rent that out. You gotta make sure it's not booked. What if there had been another wedding going on that day? What if somebody else who had, you know, paid the booking fee and was doing their, was doing their thing, like showed up 30 minutes after all these people rolled in, like, could you imagine what, could you imagine the social media firestorm that would have happened then? I, I, uh, key context here, the, the, uh, wedding party, uh, is African-American and, uh, the, the staff are all white, which leads to the concern, uh, of the. The coffee shop that they would, there would be some sort of cancelable event if they told them to get the fuck out, like they should, because it's ridiculous.
Mike00:17:34So a couple things and then JV, I wanna hear your thoughts, but there is a trend in weddings right now for the pop-up wedding. I believe I said this over text to you guys. So the pop-up wedding is like the wedding that takes place in a place where like five minutes or 10 minutes before there was no wedding and five minutes after the wedding, you don't know there was a wedding there. You wouldn't know there was a wedding there. There's like very quick sort of a minimalist kind of response to the extravagant sort of wedding industrial complex wedding. The irony of this is that like you can pay wedding consultants to plan a pop-up wedding for you. Like you end up probably not saving money. You're not spending that much money or maybe you save a certain amount of money, but whatever on, but like this is a trend. And so my theory on this is that people are aware of this trend, but they're not willing to actually do the work and pay the money to, because if you, you can Google this, Google like pop-up wedding and like they will go through like how to make sure that you're calling the right people and letting the venue know and understanding whether there are fees or reservations needed. Like even the pop-up wedding is not actually a pop-up wedding. There's actual planning in it, but if you like the trend and you don't really want to do the work or spend the money, just show up at a nice coffee shop because what are they going to do? Kick you out. And well, right.
JVL00:19:11I mean, the whole idea of the pop-up wedding is like, look at this, it flouts laws and conventions, but you know, but still do all the, the scut work and get your permits. Now people, once you unleash societal anarchy like that as pretend anarchy, then people say, I'd like some real anarchy, please.
Guest00:19:28There you go.
JVL00:19:28I think there's only one proper response to this. Only one, the barista, the head barista, the manager of the coffee shop should have come over in the middle of the ceremony, broken a glass on the floor and placed a gypsy curse on the bride and groom because what they did is an absolute infallibility.
Sonny00:19:55Fomnia and Fomnia. Absolutely.
JVL00:19:58I, I, I, a gypsy curse is the only, the only logical, frankly, response to that. What monsters?
Sonny00:20:07Yeah.
JVL00:20:08What monsters?
Sonny00:20:09Well, I, I just like, I mean, again, I like cannot imagine the presumptuousness of it. That's really what it comes down. That's really, I, I like, I, I live in fear every day of inconveniencing somebody else. It's like the only thing I, it's the only social pressure. I really feel anymore at this point is like, I don't want to be a bother to the guy who's delivering me my food or on the very rare occasions. I like, this is to the extent that I like, don't get things delivered. Cause I don't want to have to like, I don't want to have to tell the guy doing the Instacart shopping, like, no, you need to get the right thing. Like, look for it. I know it's there. I like, I don't want to have to deal with that. I just want to go to the store myself and do it myself because I know, I know I am not built for, for conflict. And the idea of just like, I don't, I don't even like this is to the extent that I swear to God, this is true. I don't even like going to restaurants with groups of more than like six people or more than like three children. Because if I do that, I know I'm causing somebody trouble. We, we, we, there was an event for my, my kid was singing at a mall somewhere as part of his school, you know, doing a little Christmas caroling, whatever. And afterwards I was like, all right, let's go downstairs and get some food. And I was trying to get us away from all the rest of the families. And of course, two or three of the, you know, he saw his friends are like, we're going to go get dinner. Come on.
JVL00:21:34And I'm like, no, don't tell them that I don't want them there.
Sonny00:21:37And so we rolled down there with like, we rolled down there with like, I don't know, it was like 10 or 12 people and, you know, like five or six kids, five or six adults. And we were going to go to a, we're going to go to a, the, one of the Mexican restaurant that was down there. It's like a sit down place. It's not, it's not fancy, but it's also like a step above, you know, a Carlos O' Kelly's or whatever, or a Chili's. Um, uh, and I was like, no, we're not going to go there now. We're, we're just going to go to the five guys. And even going to the five guys, I was like, this is really stretching it. I don't, I don't, we're going to have to push tables together. I want to, can we just leave? Can we just leave the mall? Can we just go home and get food? Can we get takeout on the way home?
JVL00:22:14Do you ever wonder what it's like to walk through life as one of those people who genuinely doesn't give a shit?
Sonny00:22:23Yes. It's because it's not. They're kings of the world. They're kings of the world.
JVL00:22:26It must be an amazing way to experience the world, right?
Sonny00:22:31Not giving a fuck about anybody else or like how you inconvenience them is a genuine superpower. It's like, that's a, that's a number one. That's a, that's a top, top tier.
Mike00:22:40I, I do think it, I mean the, the, because it's about lack of awareness. This is like my big, my big thing. It's like people are unaware of where they are in time and space. And, uh. And how they relate to the other objects, meaning the other people within their, within their like vicinity. And I do think that they're like, you, you do in the long run lose out. Like it's, it's great in the moment, but like you do kind of like push people away. And, uh, your life is, I think, low key, like underlying, like miserable because like, like people, people treat you poorly at restaurants because they know, you know, like they can tell what they're dealing with here. So I think in the long run, like a self-aware people, we're very, uh, you know, we're, we're in the driver's seat here. You're, you're the real winner here, Sonny.
Sonny00:23:34Yeah. Yeah. It sounds right.
Mike00:23:36No, but here, okay. So the, the wedding, I mean, this is like all a out, it, it comes out of like the wedding industrial complex though, right? Like that, like the bride gets whatever she wants on her wedding day. The wedding is the most, it's my special day, the most important day. Like that is really, she has to.
JVL00:23:55The groom's getting whatever he wants on the wedding night.
Mike00:24:00Sorry. I don't know about that. I don't know about that. Uh, but, uh, but like, there is something specific about the wedding aspect of the story that like, that, that allows it to occur. So, um, Michael, how are you?
JVL00:24:13What's going on, buddy?
Mike00:24:14I'm fine. I'm fine. We, uh, you know, we have a sick baby, sick baby, just one at the moment. Um, but I did very quickly. I did take my oldest. On Sunday to see the Lord of the Rings, the fellowship of the ring at the big show at the Alamo draft house, theatrical or extended, extended. Wow. It's a long one. It is a long one. We did take one bathroom break. Um, so we went, so, uh, you're right when they get to Rivendell, right? No, we should have, but like we, we couldn't make it that long. Um, so it was in Bree right after they meet Strider. That's good enough. It turned out an hour.
Sonny00:24:55We still have like two hours left of the movie after that.
Mike00:24:58We were fine. It was because we front loaded the sodas, you know, at the beginning of the movie. And so that was, that was what was going on, but it turned out to be great. So like my nine-year-old is, um, how do I put this delicate? He is a little sensitive to the tensions in movies and like me, the, you know, the, the way that like a score kind of builds up a moment of tension, it it's, he has a hard time like holding in his excitement. And sometimes that's like positive excitement, but a lot of times it's like negative excitement. It's like, Oh, what's going to happen here?
JVL00:25:39So like the, the Alamo pre-roll when the writers are looking over them and they're like hiding in the berm with the bugs coming out. Yes.
Mike00:25:49But, but, but I will say this, I will say this, but before I get to that, the pre-roll at the Alamo, among the things that they showed were like trailers for old Peter Jackson movies, which are like terrifying movies.
JVL00:26:05Oh no.
Mike00:26:06So he bear. So I, I, I quickly realized what was going on. And like, he buried his head into me and like held his, held his ears. Um, again, it's like, it's like the, it's like the creepy sounds and score that like gets his heart rate up anyway. So, but we got through it and. I would say that there were jumpscares, you know, there were jumpscares in the Lord of the Rings. There is the, the, the, the moment, you know, talking about the writer sniffing while they're hiding under there, but like he stuck it out for all those. And I think a big reason is he knew the story. He knew where the story was going. He understood what was going on and sort of what would generally happen next. Um, and he was also like captured by the movie and the story itself to like, he was almost like too into it to be scared, but we did take our bathroom break and I didn't realize it would take us this long to do it, but I was like, oh, this is like, this might be a good time. Uh, and so we, he missed the Nazgul stabbing the beds, uh, of the hobbits, you know, that that's a pretty scary scene, but he stuck it out. He, he, he watched the whole thing. He freaking loved it.
Sonny00:27:18And had he never seen it before? Was this his first time?
Mike00:27:20Oh, first time. First time.
Sonny00:27:21Oh, how about that?
JVL00:27:23Let's see a Lego last or a Gimli. Kind of guy, which, cause everybody's one of them. It's like Elvis or the stones.
Mike00:27:28Um, I don't know if he's got a view on that. Uh, he loves Pippin as everybody does. Like Pippin is hilarious. And, uh, yeah, that, that tracks that tracks. I mean, um, but, but he loves the weapon.
Sonny00:27:46You might as well use it.
Mike00:27:47Yeah. He, he, he loves Pippin and he loves it for good. Of course. Um, so anyway, it was, it was great. It was great to see it in a theater. Like it was just like terrific to see the extended edition in the theater. Um, I will say I picked up on things I did not pick up when I first watched these movies. Um, like the, the wide shots with this, with the either little people or child stand-ins for like Frodo and like are very obvious, you know, in retrospect, like once you know
Sonny00:28:23to look for them.
Mike00:28:25Well, I didn't even know to look for it, but you know, it's that thing where you've seen a movie so many times that you start looking in the screen for other things. And, uh, there's a wide shot in the very beginning where Gandalf and Frodo are on the wagon and they're, they zoom out to show Hobbiton and the Shire and all this stuff. And it's so, it's so obviously clearly it's small, but it's so obviously clearly not Elijah Wood sitting next to Ian McKellen. It's a little person with darker hair than Frodo. Has sitting next to anyway. And it's like, it just jumped out at me, but I think, well, no, it's like, it's like watching
Sonny00:29:00Reacher, uh, and like knowing to look for the force perspective or, or the, or the like shots where he's standing on it. He's clearly standing on a box or whatever. Like once you know, to look for those things, it's like, oh yeah, here, here it is again. Um, and that's, that's, that is almost the, so I had almost that exact same, uh, response to the movie when I rewatched it on 4k, I got the 4k set, uh, last, last year. At some point was rewatching it. And like, because it's so clear, because like you could, I mean, like there's 4k's there's four, there's four, it's because it's so clear, you can really see like the, like wigs and the, the little people and the, and like, uh, especially any shot where, uh, everybody is standing kind of side by side and you see them from behind or whatever. It's like, oh yeah, that's a, that's a standard. That's not, that's not the real action.
Mike00:29:51But I, I will say it, it holds up. Um, so like it just as a movie experience so well. And, um, and it's, it just reminds me of like what an achievement it really was to like make, make that movie and make those movies. Um, uh, you know, the other thing I will say is, um, I had warned him about this, that like there will be different things because we've just read the first two volumes of, of the books. And, um, I was like, there's going to be different things. There's no Tom Bombadil, you know, there's no Barrow White. Where's Tom Bombadil? Exactly. But then he was sort of like, he like got it. He was like, oh yeah, you really couldn't like include him. I was like, think about how much longer the movie would be.
JVL00:30:34I was like, yeah.
Mike00:30:34So it was a great outing.
JVL00:30:36Tom Bombadil sucks.
Mike00:30:37Um, we don't need to open that, that, that, that can of worms again. Um, but the Barrow White would be cool to see. The Barrow White would be really cool to see. And you can't have the Barrow White without Tom Bombadil, but that would be super scary. Anyway, that's what, that's what's going on with me. Should we? Uh, should we move on to a box office talk real quick?
JVL00:30:57Yes. I've been dying to talk about the box office.
Sonny00:30:59Box office. People demand it in the comments. They send you Prada links. They demand more box office talks. We're going to talk box office.
JVL00:31:07Big news. Hold on.
Mike00:31:09I feel like I am the shield, uh, the human shield in front of JVL's hatred of the box office talk, because I'm the one who gets out there, gets out in front and says, let's not maybe talk about it. And, and, and you're hiding behind my bravery. Just saying that let's talk about the box office though. Number one at the box office is Wonka. Yeah.
Sonny00:31:31I don't care about that. Don't care about that. Don't care about number two or three or number four. When we get to number five, number five is where interesting things start to happen. So number five at number five is anyone, but you, which grossed, uh, let's see, it grossed $9.75 million this week. You think, oh, that's not that big a deal. $9.75 million and it's third weekend. That's not it, but this, it's a very interesting. Story, uh, with this movie. So, uh, it has now grossed more in each of its successive weekends. It has grossed more. It grows more in its second weekend than it grows in its first. It grows more in its third weekend than it grows in its second. And as far as anyone can tell, as far as any of the box office watchers I follow, as far as I know, this has never happened for a movie that has opened on more than 2000 screens. This has never happened for a movie that is open wide movie, a movie grossing more in its second weekend. It's first and then more in its third weekend than its second, uh, which is, which is really interesting. And a second little nugget here that I haven't seen anybody really dig into, but is, is like equally interesting again for a movie that opened wide open on more than 2000 screens. It hits number one at the daily box office on its, I believe 18th day. Um, which is again, that that's unprecedented. I've never seen, I've never seen that happen with a movie. Now, again, we're talking about, we're talking about a, a kind of weekend box. Office, right? You know, it's still recovering. The, the competition out right now is not terribly strong. Um, but it is, it's, it's really interesting to see a genuine word of mouth hit like this kind of take off. You, you, you know, the last time it really happened was, um, uh, the greatest showman, right? Where the greatest showman opened to like $12 million or something like that, and then did a multiple of 14 or 15 and ended up grossing $160 million domestically. Right. Excuse me. Um, but it's, uh, uh, but even the greatest showman star, what is it?
JVL00:33:32Is it a rom-com?
Sonny00:33:33So anyone but you is a rom-com starring Glenn Powell of Top Gun Maverick fame and Sidney Sweeney, who is best known for having a very great acting skills.
JVL00:33:46She's Buxom. She's Buxom.
Sonny00:33:47Uh, and, uh, the, uh, the, the, the, the, it is a throwback rom-com. Concept rom-com where you have two attractive people who are like, not really into each other at first, but they're definitely totally into each other. And then they get together at the end. It's like, it's, it's Shakespeare, isn't it? It's based on Shakespeare. You, you, you make a modern retelling of Shakespeare. You put two hot people in it. That's box office gold is my understanding. It's been true for ages.
Mike00:34:15Question. Question. Two questions. Actually. First question. Have you seen it? Sonny?
Sonny00:34:20I've not, I've not, I kind of, I want, I don't want to go see it. So like the only time I really have to go see it would be like in the middle of the day, uh, when the kids aren't, aren't around, but I don't want to go see this in the middle of the day with nobody else in the theater. I want to see it with a packed audience full of laughing, joyous people. I want to get the experience. That's not, that's inappropriate JVL. That's not what we're, that's not what we're here for on this show. Uh, anyway, I, I, well, that was, that was my second question.
Mike00:34:49Does, is this a, is this a film? Does the star of the film, uh, show skin?
Sonny00:35:01I, my understanding is that both of the stars show some skin. So there's, you know, it's an R rated romantic comedy. There's language. There's some sex here. Let's look at, let's see what the MPAA says. MPAA rating anyone but you. Uh, let's see. Rated R for hold on. Uh, rated R for language throughout sexual content and brief graphic nudity.
Mike00:35:31So, so like that's, that is a huge, I mean, I don't mean to take away from the two stars, you know, uh, considerable acting talents, but like that's, that's word of mouth getting, getting out. Right. Like that's like, that's, what's getting this movie.
Sonny00:35:46I don't think you really need.
JVL00:35:48Isn't she naked on HBO? Yeah.
Sonny00:35:49I don't think you need to go to see this movie to necessarily get the full Monty. Uh, I'm just saying, but, uh, but I, I'm just saying it's, it's a big box office story. Congratulations to the folks at anyone, but you, uh, hopefully you can make it four weekends in a row, increasing the box office. We got it. We're bringing, bringing the box office back, baby.
Mike00:36:09It's coming up. It's coming up. Uh, okay. Well, we are not talking about, uh, anyone, but you, we are talking about what's at number nine on, uh, last week's box office. Ferrari. Ferrari by Michael Mann. Sonny, you want to give us a big boy review of Ferrari?
Sonny00:36:30Michael Mann's Ferrari. It's based on Enzo Ferrari, the man, the cars, the machines, uh, by Brock Gates. It's a, uh, it's, it's, it is, it's an interesting Michael Mann movie in that, um, so, uh, the story here is basically Enzo Ferrari. It's 1957. Uh, he's about to go broke. The Ferrari company is about to go broke. They're, uh, getting pressure. From Maserati and the other sports cars company, uh, sport car companies. He might have to take a loan from Ford, uh, you know, to, to stabilize the brand. Uh, you know, there, there's all sorts of, uh, domestic drama because he has a longtime mistress, uh, and this is very annoying to his wife. Um, the mistress is played by Shailene Woodley. The wife is played by, uh, Penelope Cruz. Adam Driver plays Enzo Ferrari. Um, but, uh, the thing it is. First and foremost is a, is, and this is, again, it's unusual for, uh, it is unusual for a Michael Mann movie to be this directly about this topic. It is a movie about fathers and sons and legacy and kind of what it means to have a child and to be a dad. Uh, the, the, the, the, the most, I don't want to say it's the best scene, but the, the kind of most interesting scene comes very early on. Uh, Enzo Ferrari goes to the gravesite of his son. He goes there every day. And he's sitting there and he's talking to the, to the boy about, you know, how he sees his brother when he, in his dreams. And, but when he closes his eyes, he always sees his son and he starts, he gets choked up and it's very emotional. And again, this is un, this is unusual for Michael Mann, who is a director who has made all of his movies are about alpha males doing alpha male things, being excellent at business, excellent at fighting, excellent at, uh, computer hacking, whatever. Um, and here is. Here is a movie that deals with the more personal rather than professional side of life, uh, in a way that is like almost, um, it's, it's more intimate than, than, than what we usually see from his films, which I find, again, I find, I find very interesting. I, I find it, I find it fascinating that for a guy who has for so long dealt with what it, like masculinity at a very high level, um, uh. Uh, that this has never really been, uh, a topic he has tackled. It's never been, it's, it's never been something that has interested him. It's always been kind of off to the side. The closest you see it really is in Last of the Mohicans, um, uh, particularly the relationship between the, uh, the two, the two natives, the two actual natives, um, uh, and their, their relationship with, uh, Daniel Day-Lewis. Um, but the, uh, but, but this is, this is an entire. It's an entirely different thing. It's entirely different. Uh, and it, and it, I think it mostly works. I think it mostly works. Uh, the, the, this, uh, this is, I haven't talked at all about the actual cars or the racing yet. The last 40 minutes of this movie essentially are one long car race and they are about as tense, uh, as, uh, as tense of car races as I have ever seen committed to film. Like they're, they, it takes. Better than Gran Turismo? It's the, yes, even more than Gran Turismo. It's the Millie, I, I, Millieman.
JVL00:39:54Migniglia.
Sonny00:39:55Millie Migniglia. I don't know. It's the, it's, it's the thousand mile race in Italy and they, uh, they, uh, it's, it's, it's a street race. It's on the streets of Italy and it, in, it puts, it puts the cars right next to spectators, uh, which, you know, uh, may come back to haunt some people later in the, the, the movie. Um, but it also, it also just like puts the cars right on each other with these hairpin turns and I, I, I, I found all that stuff great and wonderful. Um, it is more, I feel like it's a slightly more subdued visually, uh, movie from Michael Mann than, uh, some of his previous efforts. This is not, I wouldn't say there's a lack of style, but it's not self-consciously stylish. Yes. Um, in, in, in how he moves the camera or how he shoots it, it's, it's shot almost in a very, uh, it's, it's shot with, with, uh, digital film, digital, digital video, you know, so it's, it's, it's got kind of a flat look to it. But it works great with low light, uh, that, that sequence at the beginning of the race where they started at night is just wonderful and fantastic. Anyway, I like this movie, uh, quite a bit. Um, uh, and I find it fascinating as a capstone, uh, for an 80, you know, four-year-old director kind of like putting a summation on a career that. Yeah, he's old. So he may not. Or maybe, he may be 80. 81. I like he's, um, but he's, uh. He's in his 80s. Michael Mann's been around forever.
JVL00:41:29So this could be his last movie.
Sonny00:41:30Could very well. Yeah, he's 80. He's 80. Um, he turns 81 February 5th. So he turns 81 in a month. Uh, the, this could be his last movie.
JVL00:41:37Because he doesn't work fast.
Sonny00:41:38No, it's been, I mean, it's been almost 10 years since Blackhack came out.
JVL00:41:43Since Blackhack? Yeah. This is probably his last film then. Wow.
Sonny00:41:46Well, in theory, he said he's, he's trying to get Heat 2 together. So we'll see, we'll see how that goes.
JVL00:41:51Heat 2, Electric Beagle. Um. So I didn't see it and I, I am sorry guys, but the, it was not playing anywhere near me. I had to, it was 22 miles away was the nearest theater to, to go see it in. And I am sorry, but I was not going to do like 45 mile round trip to, to see this movie. And I'm, I feel bad about it, but it did strike me as being really fucking weird that it just wasn't playing in my County in New Jersey. Maybe. Irish, like, you know, we're being anti-Italian or something.
Guest00:42:27It's anti-Italian discrimination.
JVL00:42:29I did rewatch heat as my homework.
Sonny00:42:31You watched, you rewatched heat. I did rewatch heat.
Mike00:42:35Michael, what did you, did you like it? Did you love it? I, I, I loved this movie and I think a lot of it had to do with the performances and the other part had to do with the, as Sonny said, the final 40 minute, uh, you know, race was, I totally agree with you, Sonny, that it's like one of the most thrilling car races on, in a film I've ever seen. Um, it was, I mean, the, the tension was both on the level of the cars themselves, you know, can they make these turns? Can they, um, you know, who is, you know, this is dangerous, you know, seeing all of these spectators standing right there while these cars are going, you know, at ungodly speeds and also on the, on the sort of personal level. I mean, you don't get to know as well as I would have liked the whole racing team, but you do get to know the, the, the sort of the main driver a little bit, um, the one with the, with the actress girlfriend, the blonde girlfriend, um, and there's sort of a character tension, uh, and, and, and, and drama there too. Um, but I mean, Adam drive, maybe everybody already knew that Adam driver was this terrific tier, uh, acting talent, but you know, I was sort of, I, I grew in my appreciation for him because, um, there's so much that he has to do with his, without saying things without, you know, with, with, with just his facial expressions or his body language that I just thought was terrific. And Penelope Cruz, I mean, uh, the, the two of them, I think of, of the, of the three main actors, uh, Shailene Woodley was sort of the least. convincing. Like I felt like, well, wait a second. Is she, is she really Italian? Is she supposed to be Italian? Or is she like American? Um, but then she looked like speaking Italian. So I thought she was sort of the weak link of the three, but, um, I loved it. I loved, um, I do have a question though. So is this in the same cinematic universe as Ford versus Ferrari? Are we, do we have an idea? Um, I think it's interesting that like we have Ford versus Ferrari a few years ago. Now we have Ferrari. Like, like it's interesting that we have this, this interest and maybe it's because he's an 80 year old director, but like in, in, in a car culture that is like really doesn't exist anymore. Um, I just, I find, I find all of this such an interesting topic. Yeah. I mean, he's, he's been
Sonny00:45:13trying to get this movie made for like 15 or 20 years. Like the, the guy who wrote it, the credited screenwriter died. Uh, a while ago, like not recently. Um, let me see if I can, that's right. Because he was trying to
Mike00:45:26get some, he was trying to get other actors before Adam driver was even on the scene. I, yeah, I remember reading about this. He wanted somebody else to play, uh, to play Enzo Ferrari.
Sonny00:45:37Yeah. Troy, Troy Kennedy Martin died, uh, who is the accredited screenwriter. He died in September of 2009. So, you know, this, this 15 years ago. Yeah. So this movie is, uh, it's been, it's been, it's been ingesting.
Mike00:45:50For, uh, he had wanted to initially Christian Bale and Hugh Jack play Ferrari. So, well,
JVL00:45:57Christian Bale did the other Ford versus Ferrari movie. Well, I mean, I, I think one of the reasons
Sonny00:46:02this movie gets green lit at a 80 or $90 million budget, however much it costs is because of Ford versus Ferrari, Ford versus Ferrari comes out and does huge business. And they're like, Oh yeah, people, people want car movies. And it turns out what they actually wanted was, uh, Matt Damon and Christian Bale car movie, uh, specifically.
JVL00:46:20How does the car stuff compare? So the, the racing stuff, how does it compare? So this is the third big ish racing movie we've had, right? It's Ford versus Ferrari, Gran Turismo. And now this, um, what, how, how does this, I mean, I, is it different? Is it more visceral? Is it more real and practical versus all the CGI stuff that shows up in Gran Turismo?
Mike00:46:44I mean, there's definitely some CGI in Ferrari, but it feels Yeah. I would say it feels more practical and it feels more, I mean, the theater I was in, which was, I did not go to the Alamo to see this. I saw this in the, in the, like the art house, uh, local theater where like all the boomer, like it was all boomer couples in, in my theater, like watching this movie. Um, but like the sound, like the sound of the engines was more visceral. I thought even in sort of, you know, kind of crummy, um, non-stadium seating, non-Dolby theater. Um, I don't, I, again, I thought it was, I thought it was terrific. I mean, there's wide shots, there's like close shots where you're, where you're watching, you know, from the point of view of the driver, I would say the hairpin turns, they, they do a great job of, of like showing you how fricking close it all is, you know, how, how like one wrong turn like ends up with people dying and like, spoiler alert, like that's what happens at one point. So, um, I, I just thought it was, I thought it was full of great tension and it was a great time, right, Sonny?
Sonny00:47:55Yeah. Yeah. So, I mean, I, the, the digital versus practical question is an interesting one and I wish I knew a little better, frankly. I like, I, to the extent that I was asked to submit nominations for the vulture, uh, stunt awards this year, I was asked to participate in that. And like, I, I, I, I picked a couple of sequences from this movie, but like, you know, I, I didn't want to, I didn't want to pick the, the, the, the, so there is, there's a fairly shocking death, uh, towards the, towards the end of the film. I didn't want to pick that because that's definitely not practical. That was, that was done digitally. Um, but there is, there's clearly a lot of like actual bumping of paint, taking, taking turns, that sort of thing, uh, that was done practically. Um, I just don't know. I don't know what extent I'll say this it's, it's put together pretty seamlessly, whatever, whatever is digital, um, versus practical all melds together. Very nicely. Um, so that, that, uh, you know, I, I have no complaints about the,
Mike00:48:57the realism of it. I, I will say the, um, that, uh, I love Italy in this, uh, in this movie, like the, the, just all these terrific shots of, um, you know, like the, the, the, the, where the, the big dramatic scene in the, uh, climactic scene in the race with those, like the, the, the street, the road with the pines lining it. Um, just, I, we've watched like several movies in it that were filmed in Italy this, this year, this past year. And like, it's, it's just, it's always, it's always, you could tell, you know, why these filmmakers love making movies in Italy. It's just so beautiful. And, um, you know, you can film a period piece in these places. You probably don't have to do much because like a lot of these places have not changed since Italy is a special effect. That's right. That's right. Yeah. Yeah. So, um, I don't know. I mean, I, I was, I, I think I texted you guys that like, what the reaction you guys had to iron claw is kind of how, what I had to Ferrari. I just thought like, what a story, what, you know, and I'm not like a huge car history guy, but I love, I love cars and I love like watching like racing and, and I'm interested in all of that. Uh,
JVL00:50:13and so, uh, you know, did you have supercar posters on your bedroom wall when you were like
Mike00:50:1910 years old, 12 years old? I made, I made car models. Um, I was definitely interested in like
JVL00:50:24making, uh, are you a Ferrari guy or a Lambo guy? Cause all, all young suburban boys are one of the
Mike00:50:31two, right? Correct. So, so I will say in my wayward youth, I was a Lamborghini kid, but I have, I have, I much more appreciate Ferrari now. Um, Lamborghinis were like sexy and cool, you know? And it was like, Lamborghini is like, you know, the, the, uh, a hot supermodel in a bikini, you know, but like Ferrari, I'll stick with you, you know, through,
JVL00:50:55through, through the testarossa. I want it when I was like 10 years old, the testarossa was like the boa deal of what, uh, what a sports car should be. Um, I, I also, I, I think they do.
Mike00:51:08I mean, this is just part of the story, but the, um, you know, the character of Enzo Ferrari is like this sort of, you know, middling, middlingly successful. Car racer turned sort of race car empire build. Like it just, I, I love that story as well. It's like subtle and it's kind of in the background of the story, but you know, the sort of the way that he transformed his, you know, and built this empire himself after kind of struggling and, and, and racing. I don't know. I just, um, it's a great story. And the father son stuff is, is, is, um, um, uh, you know, it hit me, I would say in a, in a emotional way where I think, yeah, totally. So, uh, I don't know any other thoughts, any other Michael Mann thoughts? Uh,
Sonny00:52:02well, JBL, you rewatched, uh, you rewatched heat. Yeah. I, uh, I mean, I,
JVL00:52:07I keep waiting to reach the point where I realized that heat isn't actually that good, but every time I see it, I like it more rather than less. And here's, here's something I've come away with. I've come away with a lot of things that I've never seen before. And I've come away from this watching. First of all, I've been thinking, is it time for flash to see
Mike00:52:24heat is 15 too young for heat. I feel like it's a college movie. Like it's the kind of movie that you like. You have to, you depreciate more like as a, as an 18 year old in the dorm.
JVL00:52:39Parts of it are just brutal. Yeah. Right. I mean, so here, here's the thought I, I have, uh, Kevin gauge is the actor who plays Wayne grow. Wayne grow. And I propose that this is a movie, which is, which succeeds because it's perfect in every level. But one of the ways in which it is perfect is that the supporting cast is phenomenal. And so Ted Levine, for instance, Ted Levine just kind of owns every scene he's in, even though he's a background character and Wayne grow might be the most convincing, psychopath I've ever seen on screen. So much so that when you, when you watch it with Kevin Gage, I honestly had difficulty believing that this guy wasn't just some biker gang psychopath that Michael Mann picked up off the street. And in fact, Wayne grow did wind up going to jail for a couple of years for growing and distributing marijuana, uh, late in life, but he's just been a working, a working actor for like 40 years at this point. And he's not an actual psychopath if I, despite the fact that he spent two years in minimum security prison. Um, and his character is so important because we have to be kind of rooting for, for Robert De Niro. Right. And the way to really make us root for him is that Wayne grow has to be totally evil. And we have to be very, very happy that De Niro a makes the decision to try to kill him and be that the zero finally gets him at the end of the movie. Yeah. And, and so that is, Wayne grows an important character script wise for keeping the audience invested in Neil, because otherwise we might, you know, we, we might not hold Neil and detective Anna in the same regard where we're kind of rooting for both
Mike00:54:41of them. Does that make sense? Yeah. So to, to your point about, sorry, JV, I don't mean to interrupt, but to your point about the, the actors, the, the, the supporting actors in this movie, I just like pulled up the, the cast. Yeah. It's like, it's, it's insane. When you look at this president Palmer, Ashley, Michael, Michael T. Williamson, Michael T. Williams is amazing. Uh, Hank Azaria, Danny Trejo, um, tone. Loke is in this movie,
JVL00:55:09right? So good in this movie. Yes. One, one slow. I love it. I love it. But court is in this movie. And the extent to which this is not new, but I've noticed this long. I'm sure we've talked about this on the show before we had to do a heat episode, by the way, on a slow week, cause we could easily get a whole show out of heat. Um, he Al Pacino treats this as opera to the extent where he's practically pitching his voice throughout lots of it. I mean, he's not really sing song, but a lot of his dialogue is delivered like it's spoken word almost where he is, you know, pitching his, his words at different notes. And, uh, it's an astonishing performance that he does. And then the contrast between how totally buttoned up De Niro is within these moments when the rage bursts out of him. Uh, it's just really, I don't know, like it would be easy for those to be cardboard cutout characters, but they're not. They're, they're very deep and interesting characters. And, uh, I don't know, man, every, everything about everything about this movie is phenomenal.
Mike00:56:26What question? Yeah. Alternative universe after heat Al Pacino and Robert De Niro, just retire from acting. Is that, is that a better world? Like going out on, on, on top way they've given so much great performance since then. I mean, Robert De Niro has just become, become such a, you know, a, uh, parody of casino. Does casino come after that? I thought casino was before. That's what I'm saying. I feel, it
Sonny00:56:58feels like Godfather three. That's all before. That's all before. I think De Niro. So Jackie
Mike00:57:05Brown comes out after. Okay. Okay. After I've just, I've just say it feels like, it feels like the sort of like what, like where else, where else could they go? Like, I don't know. All their, all their best stuff is behind after heat. Um, I mean, that's any given Sunday. That's Sunday. Oh, any given Sunday is amazing. I don't know. I will think about this for
JVL00:57:28a second while we, while we look at this, but I mean, look, not a lot, not a lot of it is perfect. Um, but there is still some great stuff they do during it. The insider. That's a, that's another, the insider. How can we even forget the insider? That's unbelievable.
Mike00:57:46And, um, uh, uh, Christopher Nolan, um, insomnia. Yeah. Yeah. I think you're, I think you,
Sonny00:57:55uh, are wrong on this. Okay. I'm willing to believe I'm wrong. I just literally just thought of it. I just, I mean, here, here are movies that come out after, uh, after 1995, which is heat and casino come out in the same year. Um, uh, let's see, what is there? Uh, there's sleepers, Copland, Jackie Brown, wag the dog, Ronan.
JVL00:58:15Ronan. Uh, analyze this. Ronan. The score. Killers of the flower moon. Joker.
Sonny00:58:22Killers of the flower moon. Exactly. Joker. Uh, uh, let's see what else? Uh, I don't know. I mean, like there, there, he definitely has a, look, he has a silver linings playbook. He has a, he has an absolute, uh, I would say he has more misses than hits in the, in the last 10 years or so of his, of his career. But that, that stretches like crazy this, the stretch where people are like, oh, you know, maybe, maybe after goodfellas, there's a, but like goodfellas, Cape fear, uh, a Bronx tale, casino heat. Yeah. These
JVL00:58:59guys also are much closer to the British theory of acting than almost any of their contemporaries, which they're, they're not like Tom Hanks hunting around for perfect, important roles. Sure. Like they're just, they're working actors, you know, like the deer are just like wants to be working every day in the way. And so in the same way, like Michael Caine has, you know, 15 amazing performances tucked in a bunks, like 95 credits, many of which are jaws for whatever. Right. No, it's just because they like to work. And I, yeah, I
Mike00:59:29like that. Okay. All right. All right. I, I, I, uh, I withdraw retract. I want to do a heat episode
JVL00:59:37though. At some point that that's my only, let's put that on the count because it is,
Sonny00:59:42oh man.
Mike00:59:44Yeah. All right. Any, uh, final thoughts on Ferrari, Michael Mann heat, uh, uh, weddings. How many screens was it on this week? Uh, I, uh, I will, I will, I will, I will effort that. It was on, uh, a little over 2100 screens. Yeah, whatever. It's losing most of those
Sonny01:00:04this weekend. Okay. So I am surprised it wasn't playing near you. Like even like a one midday showing though, that, that is a little bit weird.
JVL01:00:14Like, you know, one of the, I have like three different 16 screen multiplexes within five miles of me and almost, you know, on any given day you can catch even like some obscure anime movie. That's anime. I don't know how you pronounce it. Anime movie. You can catch it for like a one 30 screening on one of the smaller auditoriums. Like, I mean, and this just wasn't playing period. The end weird. That is weird. Anti
Mike01:00:44man. All right. Well, uh, get in your chance to see Ferrari cause it's disappearing. And that is all the time we're going to give to this episode. Join us at sub beacon.com and we will talk to you next time.
Sonny01:01:05Can't wait to talk about Reacher. Reacher. Yeah. Reacher chat coming up on Monday. It's
Mike01:01:11going to be great. Get excited. Um, yeah, no. Oh, I will say this. Here's, here's my outtake. So watching this, I've been spoiled by the Alamo draft house. So like watching this movie in, you know, very old theater, cheap, cheap theater where like you literally just walk in the door and you are in the theater. There's no sort of, you know, little path you got to walk, but you with a woman, maybe his wife, maybe his girlfriend sitting behind me the whole time, just like making these comments under his breath. And I was like, this is like, this is savage.
Sonny01:01:56This is savagery. Why didn't you move? I would have got, I would have gotten up in the middle
Mike01:02:01of the movie and looked at him. I did. I did look at him several times and I almost moved it once, once the racing started, I couldn't hear him. So it didn't matter. But like the very, the very first scene where, where ends of Ferrari wakes up and he's in bed with Shailene Woodley and like, like we're just getting to know who he is. And if you don't know anything about the movie or you don't know anything about the subject, you're sort of like, you're just seeing him wake up. And I can hear this guy goes, that's his mistress. And I was just, I like turned around.
Sonny01:02:30I was like, I wouldn't be like, shut the fuck up. I, I, I know it's wild. It's wild going to a movie, not at the draft house now because the clientele is not good at many of these theaters. The, the clientele does not behave. I went to see, I went to see the beekeeper, uh, on IMAX at, uh, at, uh, AMC at the, at the AMC on like a Saturday night preview. It was like a preview, a paid preview. People can go see it and, and whatever. Um, and I went to, I went to go see, I went to go see that. Um, and the audience, it was probably, it was pretty full. It was like 85, 90% full the theater. And, uh, the audience was a lot of people looking at their phone and going, this is all I have is AMCs anymore. Drink beer, like go out, buy beers and, you know, coming back and just talking, talking amongst themselves in their basements. Did I tell you
JVL01:03:24what my AMC is doing now where they now have, uh, like mystery movie. And so you, you know, it's like Thursday night at eight 30, they'll tell you what it's rated, but that's it. And you buy it tickets are $5 and you just show up and go in. And then they put a movie on. And I'm, I'm sort of curious as to see what's going on. You think
Sonny01:03:47that they are test screening. I think that they are, what they are doing is monetizing. Somebody somewhere is monetizing test screenings, maybe not even AMC. Maybe it's like the studios themselves. Right. Um, because like, you know, I mean, the way these things work, the way a test screening works is, uh, a studio essentially rents a theater. They pay a thousand bucks for the theater and then they fill it with people. Um, and then, you know, the, the theater gets the thousand dollars rental fee plus whatever, you know, concessions, et cetera. Um, and, uh, I, my theory, my working theory on this is that, uh, they, the studios are like, maybe we can make, maybe we can cover the thousand dollars.
Mike01:04:31Yeah, I'm sure. I'm sure it's fine.
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