We Recommend: A Movie Podcast
We Recommend is a movie podcast where every week Jesse and Jason discuss a movie that they love and recommend you to watch and then come back and listen to their podcast!
We Recommend: A Movie Podcast
No Country for Old Men
Join us on a thought-provoking cinematic expedition as we dissect the enduring classic "No Country for Old Men." What happens when themes of aging, greed, and existential emptiness converge in a narrative that challenges conventional storytelling? We question the impact of the film's unconventional ending and how it leaves audiences in perpetual debate. With our guest Dakota, we explore the chilling realism of Anton Chigurh, arguably one of cinema's most terrifying villains, and ponder the Coen Brothers' mastery in creating tension and chaos that strike a chord with viewers.
In our exploration of the Coen Brothers' storytelling prowess, we cast a spotlight on their unique ability to craft narratives where violence and complex schemes often lead to seemingly pointless outcomes. As we contrast the authentic cinematic techniques of this film with modern CGI-heavy blockbusters, we find ourselves appreciating the artistry that directors like Robert Eggers and Denis Villeneuve bring to the table. There's no shortage of captivating character dynamics to discuss, from the meticulous tension in motel scenes to the haunting choices faced by the characters, each decision fraught with moral dilemmas and psychological depth.
This episode wouldn't be complete without reflecting on the remarkable performances that breathe life into the story. Woody Harrelson's dynamic presence, Javier Bardem's intense commitment to his role, and Tommy Lee Jones' poignant portrayal all contribute to the film's lasting impact. The rivalry between "No Country for Old Men" and "There Will Be Blood" during Academy Award season offers a fascinating behind-the-scenes glimpse into the dedication and creativity of filmmakers. Our conversation wraps up with a heartfelt appreciation of the artistic merits that make this film a timeless classic.
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Music produced by Joey Prosser. X @mrjoeyprosser
Hello and welcome to the we Recommend podcast, a movie podcast, where every week we recommend a movie for you to watch and then come back here and listen to us discuss. I'm Jesse, I'm Dakota. It's a mess, ain't it, Sheriff? If it ain't, it'll do till the mess gets here, because this week we recommend no Country for Old Men.
Speaker 2:Woo.
Speaker 1:Yeah, so you know, whenever we like talk about movies, this isn't a type of movie we really talk about, so that's why I think it's really fun that you're going to be on this podcast. So what did you think of no Country for Old Men?
Speaker 2:I originally when I watched it, which was like on some movie channel maybe, and I think I started it right at the beginning, or at least when he shoots the whatever the deer in the field, the pronghorn, yeah, and I just kept watching it and I really loved it. My only thing at the time when I watched it was how it kind of ended and that kind of left a weird thought that I had about the movie. And then, when you suggested it again, I went back and watched it and I was like this is just such a good movie. The ending still kind of is there, but the more I think on it I'm like kind of like it, kind of don't it's one of those like I'm half and half.
Speaker 2:I get it, but it still doesn't ruin the movie.
Speaker 1:Well, it's because it turns out. Hey, the main character was a sheriff who's five steps behind the entire movie.
Speaker 2:Speaking of which one of my notes was, I never title until the beginning where Tom Lee Jones talking about like them, old timers and stuff and how they would do, like how would they do in the days now and they probably couldn't handle it. It's like no country for old men, they can't handle it.
Speaker 1:It's like oh, I get it now yeah and you know, like throughout the movie, like there's constantly like an older person like needing help from like a younger person, whether Josh Brolin needing the young guy's jacket and beer, and they're all like, no, give me money for the beer too. And then the greed with uh, the kids at the end with anton sugar, it's like, oh, he needs a shirt. But then they're also like, hey, where's my half the money too? It's also like about greed and stuff like that and like the emptiness of life, which I've got like questions about what's his character's name again Anton Sugar, anton Anton.
Speaker 1:Yeah, you know, the greatest movie villain I ever did.
Speaker 2:Yes. Movie villain, I wonder if you have the same fact about that, that, I do what with his hair?
Speaker 1:No, oh Well, I don't know what to get to that. So is it? Do you just not like how abruptly it ends at the end? Because usually when I recommend this movie, like I remember recommending it to Jordan Brown and he watched it and he's like the ending is so bad and I'm like what do you mean?
Speaker 2:So this is going to like. I don't want to be like all snooty here and stuff, but I feel like it's something I told to a friend, shane. He watched Nosferatu and he says it's not good and I'm like, look, I'll take your opinion on a grain of salt, not to be that person, but I kind of understand movies more than you. He's like no, bro, it's not blah blah, blah this. And he's like, okay, I stand corrected because he looked up his ratings. And he's like, okay, it falls in line with his other movies. And it's just something I didn't feel like trying to explain to him. Of like because of you, I've learned to have a different appreciation for movies and just all the I don't want to be super hard, but all the schlop we get now these days of like super CGI, yeah, and going back into appreciate what movies were.
Speaker 1:Mm-hmm.
Speaker 2:It's a really good movie, which I feel the ending still gets me but what's the director's name of Nosferatu?
Speaker 1:I forgot.
Speaker 2:But he's directing a Pan's Labyrinth sequel now. Well, I don't know if it's him. It did say Nosferatu movie something. I don't know if it said director or someone who's a part of Nosferatu.
Speaker 1:Well, I know his next movie is a werewolf movie. Actually he's doing the Robert Eggers.
Speaker 1:He's doing the wolfman movie no, he's doing like a different wolf movie next it's gonna take place in like the 1780s or something like that. Um, because he doesn't want to do movies back in the day. Well, yeah, like I mean, it makes sense that you'd like Robert Eggers because you know he doesn't you really use CGI because you know he's a very like. I want everything to look real and as the time that it would be at, and stuff like that.
Speaker 2:You can do CGI and enjoy it. The only person that I have known recently is in CGI. That I've loved is Dennis.
Speaker 1:Villeneuve.
Speaker 2:And they mentioned something about him. He said the reason their stuff looks so good is because they like give them like a year or more to focus on reflections and everything on like that. And I was like that's what makes cgi go is if you can get the real world reflections and stuff that adds to it. Yeah, yeah, um fuck, why did we get there?
Speaker 2:we're talking about cgi and just like how I like oh yeah, um back to like the ending like the ending still gets me, but the more I think on it I kind of just I get it well the ending it makes sense, cause I don't. I'll ask about it towards the end when we get there, cause I have a question about it that I meant to look up, but I was busy with that emulator thing yeah, well, he like the ending.
Speaker 1:The final speech by Tommy Lee Jones is just kind of an epilogue. Yeah, the ending is Sugar going to the wife's house? That's completing the story.
Speaker 2:It was more on like the Moss's story, oh yeah. Yeah, but as I thought on it today, I was like, oh, he was talking about, it's going to come right to me, and he didn't have to do anything on it because I realized what he did.
Speaker 1:Yeah, I was like, ah, and he was distracted, he was talking to that girl. I just lost his distraction for once. He wasn't, you know, heading the game, true? So what all of the other Coen Brothers movies have you seen? You'll have to say, because I can't remember. So you got Fargo Seen? Fargo, love, fargo. Big Lebowski, love Big Lebowski? Yeah, so there's Blood Simple. That was the first one Raising Arizona. You've seen that?
Speaker 2:Yeah, that was wait, that was Nicolas Cage, right.
Speaker 1:Yeah, yeah, yeah, there's Miller's Crossing. That's like a goodoro in it Now you say, good, irish gangster.
Speaker 2:Anytime I think of a gangster film, I think they're Irish, I can't remember. I think of Scorsese and I'm like, oh, that'd be good to watch. I'm like, do I have like two and a half hours to sit there?
Speaker 1:Oh, they don't make movies that long.
Speaker 2:He did, he made that last one, whatever.
Speaker 1:It was, I don't even know what their longest. I think True Grit is their longest. They got O Broly. Where Art Thou Lady Killers?
Speaker 2:I didn't know they did that.
Speaker 1:I love that movie. Burn After Reading Serious man, true Grit Inside Llewyn Davis, hail Caesar and the Ballad of Buster Scruggs.
Speaker 2:They did the Ballad of Buster Scruggs in that, just like the one where you got James Franco first time.
Speaker 1:I don't think I finished all that.
Speaker 2:Yeah, I loved the James Franco thing and I loved Buster Scruggs.
Speaker 1:Yeah, I loved that. I thought that was so great. What did you think about the Liam Neeson one? Which one was that one? It's the one with the kid with no legs and arms. I don't think I saw that one.
Speaker 2:I didn't get to finish it all, the last thing remember was the dude digging for gold, and that was it because after buster scruggs I was like I want more of that.
Speaker 1:Um, you should have seen the liam neeson one, because I think the gold one's like one of the last ones. Well, I can't, I just can't remember. It's been a minute since I watched it so something about no country that I really liked now that I remembered it by talking about coen brothers movie. So I love when they show you process in movies, and this movie is all about fucking process is.
Speaker 2:That's probably why you love that one movie that came out with from david fincher uh the killer. Yeah, yeah, I watched that. And now when I first watched it, I would not recommend watching it. You know, messed up, because sometimes when I watch it my span's not there and I have more appreciation for details when I'm sober. And also was watching it when I had the lower version of netflix for like 720, and it's a dark film so everything was kind of pixelated so I couldn't enjoy it, but I was like I need to go back and watch it yeah, I love that movie.
Speaker 1:It's kind of slow and methodical, like this movie is but I wouldn't say as slow.
Speaker 2:Um, because it's the. I think it's because you just have more characters in no Country for Old Men and in the Killer you just have Michael Fassbender.
Speaker 1:Yeah.
Speaker 2:And I recommended that movie to Shane because I'm like you know, like all the details and stuff, I was like this is probably what you can get really close to of an accurate person hiding their steps. Yeah, and that's what I love, because I still think about like the airport scene from that movie where he thinks he sees someone and like changes his whole flight and everything like that.
Speaker 1:Yeah, it's like that's that's that's good, yeah, um, but yeah, like in this one, just so it starts off when you see anton sugar and everything he's doing, how he's just going murder to murder, murder.
Speaker 1:But then you have josh brolin, where you see him hunting and then you see him working out like oh tracks in the field. He follows blood and then he sees another trail of blood. It's like, oh, there's a dog, now let me follow that dog's trail. Then he goes and he searches all the trucks and everything and I don't know. It's just I love that. And then whenever they're in the hotel room and you have him pushing the suitcase, all that like details and everything, and then you have it just supposed with anton sugar going in and like, okay, so I'm buying, I'm buying this room.
Speaker 1:It's going to be the same as the room I'm going to go into. So like, kicks open the door, it's like, all right, there'd be a person there. So I'm going to probably hide behind this wall. That was so good.
Speaker 2:Cause when I watched that scene and he's feeling the frame I was like was he trying to God? That's so good, it's so smart. One thing I noticed about this movie there's no music.
Speaker 1:Yeah, there's no score. It's only like in certain parts where it kind of raises.
Speaker 2:Yeah and you don't even notice it and I was like I really like that one because it makes me focus so much more and doesn't take me out of it and I feel like you know everything now kind of just blares music at it at wrong times, but you can do it in a good way and I'm just sitting here. It's like you hear the nature, you feel like you're there.
Speaker 2:Yes, that's what I loved about it and like uh, it didn't have like I don't know what kind of filtering or stuff they did to it. It's all good Cause. I was like this feels like a like it's obviously not real world brightness because you know it's more like cloudy day type of thing. But they amped up the brightness.
Speaker 1:It feels like everything's covered in dust, yes, and it's good. Well, the Coen brothers are some of the oh brother, where art thou, you know, the film grading, how it's like very like yellow and goldish. Well, that was like some of the first time people were really doing that and they kind of started it, which I love and also hate, because now movies do too much in shows.
Speaker 2:Well, kind of started it, which I love and also hate, because now movies do too much. And so there's the thing of like people do like oh, let's just add this on here without understanding it, and they just put it on there Like no, appreciate what it is, don't just think I can just slap it on there and be good yeah.
Speaker 1:So this is originally a book by Cormac McCarthy. I don't know if you know much about him, but he did like the. The Did you. I don't know if you know much about him, but he did like the. Did you ever watch the movie the?
Speaker 2:Road, it's got.
Speaker 1:Viggo Mortensen in it.
Speaker 2:I believe that's not the one with the kids and stuff, is it?
Speaker 1:It's got a kid and it's a post-apocalyptic and stuff oh.
Speaker 2:I've heard of it. I haven't watched it.
Speaker 1:It's one of those ones I need to because I like Viggo Mortensen. Yeah, it's also a really good movie.
Speaker 2:I'm not as good as this it's not a kronberg film, since apparently he loves him um, but yeah, I actually read the book.
Speaker 1:It's. It's fun because I can see how that book would become a movie. No country for old men. Because he wrote it like a script essentially, you know, just without like it's not there's like it kind of writes out all the dialogue and stuff and it like when I started I only read like half of it and I was like, oh shit, this is the movie. So they do have like a lot of other stuff. Like when he's going to El Paso, brolin picks up like a hitchhiker and that's the girl. Essentially that's at the pool.
Speaker 2:I can see why you got that out.
Speaker 1:Yeah, definitely, I think the stuff they cut out. It's like sugar takes the money when he gets it from Brolin he takes it to like the person who originally owned it and stuff like that. So it kind of ties off some of the things that maybe the movie doesn't.
Speaker 2:But I think the movie kind of like. There's probably like I could see the book just having like the way, like the way you said it was written. Not finishing certain things works for the movie.
Speaker 1:And I think that just, I mean, the Coens are always about people, just elaborate schemes and events happening, but it's like what's it all fucking for Nothing? It was all pointless. All these people died for no reason. Fargo, I mean, that's essentially all. Fargo is all funny, it's greed, like you said earlier, and it's like it's all pointless because it's always going to end up back where it's supposed to be.
Speaker 2:That well, that's the thing is. People will get what they want, doesn't matter where it's going to get the the perfect movie and it's.
Speaker 1:It's like one of the best endings of a coen brothers for me, because of what all their movies are about, it's burn after reading. You have JK Simmons. He's this. He's like a high person in the government or whatever, and it's like at the end he's like.
Speaker 2:he essentially explains the plot and he's just like what the fuck was what did we learn about this? I love that movie. It's kind of what all these movies are. That was a movie that I was like can we get more? George clooney, being like this is so funny. There's certain things, like when you watch a movie like I want more of this, and like I watched a demolition man recently, oh yeah, and I was like man wesley's. Obviously it's a goofy movie, but it's good. Cheesy or classy cheesy is what a co-worker said, and I was like, yeah, it's like fun, like that. Yeah, I, I was like man. I wish these snipes kind of be in a nutso. Yeah, it's so fun.
Speaker 1:Well, I want more movies like that with certain actors, but I don't know. I just like movies that kind of almost make me feel empty at the end of them.
Speaker 2:I don't feel, I didn't feel empty it, just it makes sense. Money drives everyone. They will get what they want.
Speaker 1:And then, especially Anton's character, which did he work for the cartel or Well, he was hired by the guy Stephen Root, the guy that is in Barry, the guy in the office building. Ok, stapler, yeah, stapler guy. So he was hired by him, but he also hired other people to help him get it Cause.
Speaker 2:Oh, those two that were there at the beginning with Anton.
Speaker 1:And Carson Wells and yeah, so he hired a whole bunch of people and then, you know, sugar killed him, cause he's like well, you didn't think I could do this? Essentially. Cause could do this essentially because he broke the rule. I'll get my quick fact out about anton's character.
Speaker 2:Yeah, cool go ahead because we're hopping into facts right now. Yeah so, uh, a psychiatrist and his colleagues concluded the first one, yeah, that his character uh, javier brodim's character uh is a realistic portrayal, portrayal of a psychopath the most like realistic ever.
Speaker 1:Yeah, I guess it was in like 2018 when they did the study and it was an article in Business Insider, and they studied 400 movies and identified 126 psychopathic characters and they said this is the most accurate.
Speaker 2:Didn't they say like Patrick Batemans from American Psycho was like not the most, was like one of the lower ones? Really? Yeah, I think that I can't remember exactly, but I think they said that because obviously he's like extreme, more than psycho he's.
Speaker 1:he's psychotic and other thing, and the thing is like watching some Netflix documentaries and stuff like that. I'm like he's not too far off, no like, but he's too like quiet and in tuned with him.
Speaker 2:Well, he's, uh, more than like what you would see, like what you see with like the killer and dexter morgan they're psychopaths but obviously realistic and he's like more of like the like they said the more realistic take. So that's how I see it. He's like someone who's very smart and knows his stuff and he's just who he is and he does it so well yeah and Shigeru.
Speaker 1:it's just like you know, like I've known people where it's just like you got to tiptoe around what you say around them. And it's like with Shigeru, it's like you don't know what you could say that will tip him off, like know what you could say that will tip him off. Like the guy in the grocery store.
Speaker 2:Oh my God, I was so nervous.
Speaker 1:I was like uh, uh, uh the guys is like I just asked you, like I just asked what, what the weather is like I felt like like this I'm so tense, and then he just he couldn't dig himself out of the hole.
Speaker 2:Everything he was around like what do you? Because he, he's like he's a person, no, nonsense type of thing. He's like you heard me, stop doing the like. You know, when someone says something to you and you're trying to register what it is and you're like huh, and you're like oh yeah, and you catch up to what it was, he knows it's like no, you know what I said, yeah, and plus.
Speaker 1:It's like you could see, like the more like he once, soon as he has the upper hand on him, there's always like this, almost a little like smirk, because he, like you, can tell that he loves the fact that. How uncomfortable and scared they are.
Speaker 2:Oh yeah, he loves. That's the thing about psychopaths. Uh, they see people like you know psychopaths. The first thing you see is they torture animals, yeah, and that leads to believe in at least my mind is that psychopaths see people. They're not. They don't see them as people, they see them as animals as well. That's why they can understand people so well. It's like you're animals and I understand animals. Yeah, and that's why I think he's like I like the fear, because he's someone who likes to play with his food His food.
Speaker 1:But he, he does With a flip of a coin. Yep, damn Two-Face, two-face, which is ironic because Tommy Lee Jones played Two-Face.
Speaker 2:It all lapsed back together with Kevin Bacon.
Speaker 1:Yeah. So in the novel Sheriff Bell says of the dope dealers here, a while back in San Antonio they shot and killed a federal judge. Cormac McCarthy set the story in 1980, and in 1979, federal judge John Howland Wood was shot and killed in San Antonio, texas, by a freelance contact killer, charles Harrelson, father of Woody Harrelson, who's in this movie. Like In real life, I guess what? Yeah, I don't know. That's just what the notes.
Speaker 2:That's what the facts is. It was one thing I thing I was like, oh, woody Harrelson's in it. And then when he met Anton I was like, oh no, he gonna die, cause anyone that crosses his path is just like well, cause you just like you immediately meet Woody and it's like fuck, he's so fun, I love him immediately.
Speaker 1:And he's like, just like he does more talking than almost anybody at that point in such a short amount of time, because everybody's like yeah.
Speaker 2:Like an old man, like country stoic crap.
Speaker 1:Uncle Ellis. Yeah, I just thought that was crazy. I was like whoa, no way, that's so fun that he's in this movie.
Speaker 2:And it's bad because, like anytime I see like an actor, I'm like, oh, what was the last thing I saw them in? And the last thing I saw Woody Harrelson in was Venom 2. Yeah, and I'm like, so bad wasted potential. Like you have the perfect actor. Yeah, someone who was from Natural Born Killers, because when I first saw that movie and that's what they wanted it to do.
Speaker 1:They just didn't do it. Well, they couldn't. They wanted to keep that PG-13 rating, yeah.
Speaker 2:When I saw Natural Born Killers before Venom even had a movie I saw this and I was like he would be an amazing Cletus Kasady, yeah. And when I heard they cast it but I was like, oh no, they're not going to get to take full advantage of it.
Speaker 1:So when directors Joel Cohen and Ethan Cohen approached Javier Bardem about Plan Sugar, he said I don't drive, I speak bad English and I hate violence. The Coens responded I speak bad English and I hate violence. The Coens responded that's why we called you. Bardem said that he took the role because his dream was to be in a Coen brothers film. Well, he did a really good job because, well, I think he portrays that he's like kind of uncomfortable.
Speaker 2:And it's just which that maybe that uncomfortableness is like comes off odd and strange. Maybe it's like one of those like not in your element thing and you learn to look into it and you have more of an objective view on it. Yeah, versus like idolizing, because you know, everyone watches documentaries and stuff. Maybe he just like I don't like this stuff. He did his research or if he didn't, he did his own portrayal. Yeah, and he did it. Well, because he's like this is how it'd be. Oh no, it's not like that, because they don't try and add in their extra flair of what they think someone is. Because you know, people idolize serial killers. They put this different spin on them, like Dahmer had fans and stuff and it's like obviously these people don't understand. Like the mind of someone like oh, you did this, I love you, blah, blah blah, because they like anything, like there's certain like attractive serial killer, someone that kills someone.
Speaker 1:They always have that weird like like making Dahmer hot yeah, that was, that was, that was weird similar haircuts, true, not too far away from the haircut um which I do actually have a fact on his haircut. So um, the Coen brothers used a photo of a brothel Patreon to taken in 1979 as a model for Anton Sugar's hairstyle, and when Bardem saw the hairstyle he's like oh no, I won't get laid for the next two months.
Speaker 2:His last thing I saw him in was in that the Menendez brothers show. Yeah, and I was watching it and I was like like watching the show was good because the actors like there was two actors in that that I thought did the best. It was one of the menendez brothers. Uh, because he's in, he's in grotesquerie that. That guy he does a really good job. He's probably gonna be typecast now because he does crazy. He just constantly has been doing that he does crazy person very well.
Speaker 2:And then javier broden was in it and I'm like I really like him.
Speaker 1:I need more movies with him where he's like the lead or some kind of like main character yeah, I'll have to um find some for you, because mainly this movie is what I watch him in, and, of course, the Dune series. Now, yeah, he's good in that.
Speaker 2:but like I want more of him because he's just, he's got his little accent and his deep voice and the way he portrays he it just gets me every time I'm just in it.
Speaker 1:Yeah, so I guess when they were filming on location I don't know if you've ever seen there Will Be Blood. It's the Daniel Day-Lewis movie and it's like all about oil and essentially about greed.
Speaker 2:I've been meaning to see that because I went on a kick for a little bit, because I was like, oh, 310 to Yuma and I watched it and it was not terrible. It's just not what I was expecting. I was expecting like this type of movie, yeah.
Speaker 1:No, that's like a fun. Yeah, it's more fun Western yeah.
Speaker 2:And so that kind of took me off and I was like I need to really watch True Grit and there will be blood fun.
Speaker 1:There will be blood. It's slow, it's these movies they're kind of have similar themes. Honestly, the two movies and they're both up for the best picture academy award and you're either team there will be blood or team no country for old men. But but anyway, so like while they're on location in marfa, texas, the movie there will be blood was shooting nearby one day while filming a wide shot of the landscape. Directors uh joel and ethan cohen had to uh halt shooting for the day when a gigantic cloud of dark smoke floated conspicuously into view. Paul thomas anderson was testing the pyrotechnics of an oil derrick. Uh derrick set ablaze on the set of the film. Cohen's resumed filming the next day when the smoke finally dissipated. Um a year and a half later.
Speaker 2:Both films were leading contenders for best picture back when we used to have like really good movies, that uh, because like uh, the oscars and stuff are coming up and I'm sitting here thinking like what has come out, that I'm thinking, oh man, they're gonna have a hard choice to choose from yeah I feel like we don't we get like I was telling, um, it's a shame we're watching demolition.
Speaker 2:Man, I was like think about the time when Spielberg and all these directors had been rising up and all these good movies we got for a long time. Yeah, now we don't get that.
Speaker 1:I feel like is like 2007 was probably one of the best in of our time, like one of the best movie years there is. Because you have Zodiac there will be blood, no country for old Men, michael Clayton. You may have not seen it and I can't even remember what the fifth movie that was nominated that year. Well Zodiac wasn't even nominated for Best Picture and it's like one of my favorite movies ever made.
Speaker 2:I sitting here thinking about that. That does make me think, because around 2010 is when we started getting the MCU stuff and that's when it started going down. It's just too much of studios wanting to replicate that money and which that's kind of what they've.
Speaker 1:They've always done that throughout history of Hollywood. But it's just more amplified now with streaming, which sucks. Truthfully. Streaming's what's kind of messed. Everything up now, there's just too many movies, there's just movies, and sometimes the best movies you never heard about because the streaming service didn't even tell you about it until it just it's out.
Speaker 2:It was like Conclave I had only seen. The only reason I'm seeing it is because I've been. We were on Peacock watching Traitors and I was like, oh, I've seen some stuff on it. And then I looked, I was like this is why is this?
Speaker 1:Yeah, it's being nominated for everything it's like yeah.
Speaker 2:Like I still want to see.
Speaker 1:Heretic and I don't even know.
Speaker 2:Well, there's something I thought I read about A24 having some kind of delay with Max, because it's kind of like stars will get Spider-Man before Disney Plus.
Speaker 1:Yeah, I think they have something like that, but I don't remember Well, and yeah, or maybe Netflix will get it first because it's Sony but I know that because Netflix is a Sony company essentially or they get all the Sony movies first.
Speaker 2:Oh, speaking of some Sony stuff, I saw something. I don't know how much it affects, but Sony's going to stop production of Blu-ray discs. I don't know if that meant like for copying or like physical all together.
Speaker 1:I just heard you murder me. Yeah, so we're just all going to have to get our stuff from like Arrow video and all those things.
Speaker 2:Oh, thank God, you said that because I was sitting here I was like, man, that pirate hat is going to be coming out. Because I'm all about owning physical stuff, at least owning it and not having to stream.
Speaker 1:Because you know everything I've been doing lately. This is going to be all these like kind of side companies that we're going to have to go to to get through our films now. So we'll just do two more facts, and they're both about Josh Brolin. So Josh Brolin was working on Grindhouse in 2007. When he became drawn to the role of Moss in the film, he asked Grindhouse director Robert Rodriguez if he could borrow a video camera for his audition tape, and he ended up having his audition elaborately shot with the theatrical camera they were using, directed by Quentin Tarantino and Marley Shelton as Carla Jean. When the Coen saw Brolin's tape, their response was they love the lighting.
Speaker 2:I wish, I would love to see that.
Speaker 1:It's so good. And then one last thing about Josh Brolin. So Josh Brolin broke his shoulder in a motorcycle accident in two days after getting the part in this film. In an interview with Now Magazine, he recalled thinking fucking shit, I really wanted to work with the Coens as he flew over the car that hit him, oh my God. His injury, however, turned out to be a non-issue, since his character is shot in the shoulder very early in the film.
Speaker 2:It's funny when that stuff happens, because that time I got in a wreck with Tyler nearby and I did a Spin around. I saw it's just weird when adrenaline kicks in and I Spun around and I saw Tyler's Rear view. In the rear view I saw his Brake lights hitting All I could think as I was spinning Like oh fuck, fast and furious. I'm living A quarter mile At a time. I was living In a ditch At that moment.
Speaker 1:Yeah, alright so we're going to hop into the plot. So we're in West Texas. It's June 1980. It's desolate, wide, open country and Ed Tom Bell, played by Tommy Lee Joe, laments the increasing violence in a region where he, like his father and grandfather before him, has risen to the office of sheriff. But we learn later, it's always been violent. It's just like the classic what this movie is. And once it gets to uncle ellis, it's just um, which is the guy who has the bad coffee and all the cats? Yeah, he's like. It's always been hard. This country's this hard on people. Yeah, it's like. No matter what, like everything's gonna progress and it's always gonna be hard, there's always some weird serial killer that's killing somebody especially, especially back in the day yeah, and honestly you're just not aware of it as much.
Speaker 1:I will say the 70s and 80s were. You know that we had a lot of well, like crazy killers.
Speaker 2:All the documentaries me and my girlfriend have watched, we sit there and talk about. She's like how did this happen?
Speaker 2:I was like no cameras you could like if you all you had to do was just think a little bit and you could not get caught yeah it's not like, like, I say's not that hard, but if you just didn't do the typical, go back to the scene of the crime, um, stay in your area, nothing behind didn't leave a mess. Yeah, Like if you even if you stab someone to death, you could, if you did it night, went home, washed up to some rando stranger. Like yeah, to some rando stranger. Yeah, it's like you.
Speaker 1:That's what made the Zodiac killer so prominent, probably get away with it, unless you just left one fingerprint and they finally found it 20 years later because of the technology.
Speaker 2:Yeah, but that's if they, that's if they kept it, if you left it if you didn't like, if you stabbed someone and didn't leave it, if you're not in the registry. But of course now that's why they did those. I don't know if you remember in elementary they did the identikit things. Even cops came by and they would take your thumbprint and it would be like a little identity thing for your parents. But I was like, well, that puts your thumbprints also in the system.
Speaker 1:I was like that's kind of smart because if you do something later on your prints. During the monologue, while he's talking about violence and stuff and how hard the country is, we see Anton Chigurh. He's getting arrested with his cattle gun killer, man, man. After the monologue, we see Anton Chigurh he's in the police station. You just see him. The guy's just having like a classic Cohen brother I'm just a country sheriff. I'm just talking on the phone he just slowly gets up.
Speaker 2:He had some respirator thing there.
Speaker 1:Yeah, and he like steps over the cuffs, which is impressive as being that giant of a man.
Speaker 2:Oh, yeah, like you. I thought I was like he doesn't. I mean you can do it, cause he, he goes, he stands up, does it and then it doesn't. He sits back down, which gives you more range, and he obviously he knows he just does it.
Speaker 1:I don't know how many times it took them to film that. Well, I mean, I don't know. That should be a movie I should watch up like behind the scenes on, because I would love to see like behind the scenes for Coen Brothers. And so, after the monologue, we see Anton Sugar choke the deputy to death. What an opening scene. Right, it's the scuff marks, right?
Speaker 2:Yes, that detail is so good, that detail is so good and like one thing to say is like when it takes like five minutes to actually like suffocate someone and him doing it with like the handcuffs bleeding him out too, and just I think that's also like the most emotion cuts through his jugular Emotion you see on Anton's face, and that's the only time he ever does anything with his hands as well?
Speaker 2:Yeah, because we don't really see him have too much emotion from there until he gets hit by a car. But it's also like you show. It shows that he may be a psychopath, but he's also like struggling, he's just like doing it. He's not someone who's just blank faced still a real person, and that's what it would be, is like he's doing it and he's just like you inconvenienced me and you're paying for it and he gets done.
Speaker 1:he just gets up and he's yeah good yeah, and it's just you know we're not having the music and just seeing the scuff marks and like hearing them like pitter patter on the ground while he's gigging. I actually did in my editing class we were supposed to do like a scene and like talk about it in front of the class. I picked the one where they're doing the chase in the middle of the night at the hotel, um, and you know it's the shootout between the two and I was just like, oh yeah, that's a great movie to do, since there's no score and it's like you can really focus on like the tippy taps of people's shoes and stuff, all those little details, but it makes it like scarier and then when there's like a gunshot, it's like oh, it's
Speaker 2:like oh yeah that's how it'd be in real life. I still think about that scene with the first, the cattle killer. I'm like, oh my God, that is like a crazy thing to use. Yeah, but it's perfect.
Speaker 1:There's no bullet, there's no, anything Now I don't know realistically if like and you're in Texas, where everybody has one problem.
Speaker 2:Yeah, well, like it was funny because when we watched we watched it recently, the Skarsgård one, and it was a scene with like he was shooting the cat, supposed to shoot the sheep with that, and girlfriend didn't know what that was it was like, yeah, that's the thing and the only reason I know about it is because of that, because of the country.
Speaker 1:Yeah, it's funny, I seen one before really. Yeah, um, never seen it used, but like it's like. You know, I knew some people that had like pigs and cows and stuff like that.
Speaker 2:Yeah, well, I mean he was, and then the explanation on it later when he talks about it like so yeah, you can't trust a bullet because it will ricochet yeah because they say pigs heads are really thick and one cow heads. Yeah, all the animals obviously, all their heads are really thick. And that makes sense to have that, because it's just a quick.
Speaker 1:So then we cut the sugar. He's pulling over a car and a cop car Step out of the car. So I love his accent. He's like a fucking the. His hair is the the Skittles commercial when they are no berries and cream. Got the hair and it always the Skittles yo, and it just always reminds me. It's like, oh man that's exactly.
Speaker 2:You know. I always think he's Irish. I see that and I just think of that hairstyle. It's like this weird dude. And then no country for old men, dude yeah, and we see him.
Speaker 1:He fills him with a bolt gun. He's like here could you just stand right there and he's just like what is that?
Speaker 2:He doesn't give him a moment to like talk more and they're like what is that? And?
Speaker 1:yeah, it's great. And you know, like classic thing when like people are like oh, in that situation I would do this.
Speaker 2:Like when you're pulled over by a cop you don't know what's going on and you never expect that you're about to die. This isn't real. This is fake. Everyone does it. It's the 80s, like no one ever thinks about this small town. Small town 80s nobody watches a bunch of stuff. Killers weren't like prominently on documentaries and stuff when all these serial killers were happening. That's when, like, everyone started like we gotta start latching our doors and everything like that.
Speaker 1:They always say back in the that you didn't get yes, yeah so then we cut to luella moss. Baby, he's hunting prog horn. Uh, worst part of the movie is cgi deer. It's bad, I didn't even think about that. Yeah, it's terrible. Um, also sorry if you hear some music in the background. Uh, there seems to be a party going on somewhere nearby our house, um, but so he comes across the aftermath of a drug deal gone awry. You got several dead men and some dogs and a wounded Mexican begging for agua.
Speaker 2:I don't know what it is about that scene but coming up to, because most of the time I feel like a movie would be like he walks up and he sees people talk and then you just start seeing shooting happen. But he just it's the coming up to the aftermath, which when I watched I was like, oh, this echoes at the end. You come into the aftermath, yeah, and I was like I don't know why, but I like it just seeing, like I like interpretations because I like to be imaginative with it and thinking on it in my head.
Speaker 2:It adds more to me because I can think on it and imagine it differently and it's just, you know, you get to add your own spin. Yeah, like mysterious creatures and stuff. I love to think about it, yeah.
Speaker 1:Well, and it's also and especially for me, because I've seen this so much, it's like I love to like look at the bullet holes on the guns and, just like you know it's, they walk you through this whole crime scene so well that you're picturing what happened and it's like you don't even really need to see it because, like, you have this great scene and you have it also playing out in your head at the same time. Fun fact Grand Theft Auto 5, there's like a Easter egg where they have this whole setup, and I remember coming across it and I was like what is this? Well, like, is this supposed to be a mission? They're like it's a no country for all men set up. And I looked around I was like, yeah, there's dead dogs everywhere.
Speaker 2:Oh, that's right, yeah, and we're getting a switch to a whole new console before Grand Theft Auto 6.
Speaker 1:Yeah, it's going to be crazy. So he's kind of looking around, he's like, oh, he goes to search for who did this or where the money is. It's great because we see how smart he is and how his experience at war is helping him Also. We just saw evil and now we are potentially seeing a man that is smart enough to combat him. It's the only man in this whole movie that gets a shot on him.
Speaker 2:So just thought of this. So Anton's character is already on the way.
Speaker 1:Right, Um, yes, potentially. Well, like I think he may be like getting a call now or something like this.
Speaker 2:Well, I guess, I guess you do. When um Moss shows up, they are kind of like because one guy's eyes were like faded.
Speaker 1:Yeah.
Speaker 2:Dead eyes were like faded, yeah, dead. So they, I guess a date. Probably some time had gone by and not hearing anything.
Speaker 1:He probably had already called yeah, I assume this was the night before.
Speaker 2:Yeah yeah, um that dude guy asking for agua. I was like just I have a thing about that. What just going back, dude yeah, yeah, we'll get there.
Speaker 1:We'll get there at that point I know so um, we see josh brolin. He then comes across a tree where he finds a dead guy in two million dollars in a satchel that he takes to his trailer home and hides a gun and the satchel underneath his house.
Speaker 2:I love uh, shane brought up a good point about movie people. You think about josh broiland's character? He's in a trailer. He is in that world low class, but how smart he is would be a genius like someone like that here but it adds to like this guy's pretty smart for someone, but in real world you think about it. Be an idiot. Gone already, yeah, uh in that world.
Speaker 1:He's well, he's. I don't know he's experienced. I would say I don't know how smart he is, because he obviously took the money and he like won't give up. But that's also probably a little bit of pride, and it's he lives in a trailer and he wants two million dollars, dude, which doesn't make sense.
Speaker 2:If he knows there's two million, he counted the stacks.
Speaker 1:Well, I think he just. Well, I don't know if he ever says it's two million himself. He does?
Speaker 2:He says would you ever stop hunting your two million? So he knows the money.
Speaker 1:So either he saw the money. Oh well, there you know, he probably counted one and then, you know, just didn't look through every single dollar bill.
Speaker 2:Well, you didn't have to, but you could click something that big, you would see that Well.
Speaker 1:So they had the ones in between the hundreds and they cut out the one so it wouldn't like have a bump over it. So it was the money that the tracker was in was cut out, so that you know it's like you cut out like a book and hide like a gun in it or whatever. So it closes flatly.
Speaker 2:I gun in or whatever, so it closes flatly. I was getting too nuts with it. I was like oh, that tracker is probably a radiation detector. The bills are probably irradiated, because that's one way you could track money too, and I was like what am I thinking?
Speaker 1:this is too, that's too much. They just have a tracker. Yeah, and it's not even that great of a tracker. You have to because it doesn't like point to a location. You just have to like oh, there's a beep, now I have to drive around, just fine. Um, also, I just love whenever he's looking for the, looking for the guy with the money. He's like what would I do? I guess I'd be looking for shade yep, and that was.
Speaker 2:That's a good. He's like well, if you went somewhere because he knew he's probably wounded because he saw blood or something, I don't know exactly. But he's like yep, I come out the way I did. It's like that makes sense too. Yeah, um, because we're all animals and he's tracking like an animal.
Speaker 2:I guess I'd come back the way I came and I love that he saw him sitting there, looked at his watch and then waited, saw no movement and he's like all right, he's probably not moving. And one thing I don't know if that's a fact or not it kind of made me think of it why is the watch not in on his wrist? And I was like, well, it's hot and the watch would probably get really hot.
Speaker 1:Yeah, and he probably that's why he keeps it there and he's sitting still for such a long time because he doesn't want to be seen.
Speaker 2:And then we meet his wife, Carla Jean. They have a good job.
Speaker 1:Yeah, she crushes. I love their back and forth. It just feels like a classic, like young married couple that you know probably they'd probably stay together forever but they eventually hate each other.
Speaker 2:But right now it's like they're bickering. It was so funny. It's fun. Yeah, I just loved his like's. Like you keep talking, I'll take you in there and I'll take you in the back, and screw you and like what the best or like I made me laugh and I was like man, my woman was out here, she'd be like that's something you would say yeah, like, yeah um, yeah, but it's great.
Speaker 1:I immediately love the, the pair, um, and then you know, it just immediately shows that she doesn't ask too many questions. Uh, she'll just, she'll just get mad and not talk, so she won't keep going into like what are you doing, where'd you go? Things like that. And then later that night I got it at the Gittin' store. Later that night he's laying in bed with his eyes wide open and he says, just can't do it.
Speaker 2:What did he say?
Speaker 1:He said alright, I was like yeah, something like that, because it's like it's his conscience.
Speaker 2:I just I just like dude, like in my mind. He's like when he says I'm doing something dumber in hell, and I was like you are, like you're not stupid, you should know at this point he I know he couldn't do it his conscience at that moment, but I was like dude, he's dead he was he was pallid he was. His skin was yellow, he was dying. I was like you left him there.
Speaker 1:He's dead yeah, but I think, like this is something that comes into play with his war background. Right, it's, like you know, killed people. He probably has a lot of regret over it and he has like some sort of PTSD probably no man leave.
Speaker 2:Ptsd probably no man Leave, even like seeing a wounded person, no matter if they're in me or not. If, depending on certain people like you, can't do that, yes, it will eat at you.
Speaker 1:Yeah, I think he just wants to. I got this money.
Speaker 2:I don't want it to eat away at me the rest of my life. Yeah, if I could have done something.
Speaker 1:And he's like I just got to do something. I got it. Good, not say he has ptsd because, as he's like leaving this place, you know, I assume this is what this is meaning. Whenever he's like, um, it's like, well, tell my mom if I don't come back, tell my mom I love her, and it's like he's already dead and he's like, well, I'll tell her myself. Yeah, like to me. I was thinking I was like, oh yeah, this guy's probably just kind of. He's probably just like mentally a little bit messed up yeah, because they were nom right nom right NOM was rough, yeah, which later will come back to help him when he's trying to get back across the border.
Speaker 1:So, yeah, he goes out. I fucking love the visuals in this.
Speaker 2:This is Roger.
Speaker 1:Deakins, he finally won his Oscar for Blade Runner 2049, 20 something, whatever that movie was.
Speaker 2:Oh, another deal that's been in the Blade Runner movie yeah, but yeah.
Speaker 1:So like I just love the scene. He goes back, he drives his truck up, it's up on the hill. Oh, the shot is so amazing, what? And it's great storytelling because he comes back, he goes, he's looking around, he gives, he opens the door of the water and then he turns back and there's two trucks up there or another truck up there. So perfect, it's so good. But I was also so mad.
Speaker 2:I was like why did you come?
Speaker 1:back. I know it's so frustrating back they like eventually, hopefully.
Speaker 2:It made me think I was like if he didn't come back, how like the tracker part, how like it changes everything, hey, you wouldn't have. They wouldn't have known who to go for. He was just randomly hunting, they would not they just drove around the town. Yeah, they would have been like trying to find it yeah and I know it sets it up.
Speaker 2:It's just one of those like, if you just didn't go back, it's always that one mistake, that because that sealed his fate was going back. Yeah, it's kind of like fargo um, he went back and he's trying to do the right thing. Yeah, in the process, I'm sitting here thinking like he's not a bad guy. If I can't like obviously I would never like if I saw dead bodies I would run and go get the cops yeah, but being in this mindset of this person, that money is like it's like that's opportunity man.
Speaker 1:That's like the rest of your life not doing it.
Speaker 2:He's retired yeah, especially in the 80s.
Speaker 1:Now he can buy any house, he could do what he needs to. It's like if he just got that money and immediately went like Carla Jean, we're leaving now. It's like we're going, we're picking up your mom, we're living in Tennessee now. It all probably worked out, Yep. But so he turns around and then all of a sudden you see that the I guess the Mexican guys are. They're stabbing his tires and stuff and the lights turn on and they're driving down.
Speaker 2:He's shooting at him as he dies under.
Speaker 1:And then what I love is it's been a very slow pace, like all, like you know, like most of it has been camera panning. There's not a lot of handheld, but then like the chaos of the moment where he's running, it's dark and you see like the lights shining on him and like just kind of around the whenever he's running away, like the landscape, it just gets me it's so good.
Speaker 2:And another thing that's great about this in action moments, no shaky cam well, it had just that one when he was running but it's like I felt like it added to the intensity of it it wasn't too long. Well, you don't need a lot of it. Like a girlfriend wanted me to watch the born movies and watch that first one and I said I'm struggling to watch this there is so much.
Speaker 1:He kind of started that.
Speaker 2:It's so much. I'm like I don't know why. If I had like back then when I watched this, if I was an inspiring filmmaker if I was I would look at him like dude. No, I would have been like the movie's good. If I was like this is what you need. Focus on your action. You're just doing like. I don't know what his reasoning for it was.
Speaker 1:It to help, like, make it feel like you're in the action, but I don't like it yeah, I can't remember what he said, the reason I think it was just kind of his style that he liked and people really liked it in the 2000s. But I think we got so much of it at once I didn't even like it first watching it.
Speaker 2:I was like I'm trying to. It's just like with the Transformers films there's so much like CGI jumping around stuff. You don't know what's going on. Yeah. I want to know if you put me in there where I could focus on the scene.
Speaker 1:You can appreciate it so much, yeah and that's like you know it really and kind of inspired like what the 2000s fight scenes and stuff, or where it's like close-up action. You know the thing I always Alien Covenant where I'm like I can't understand, like when the Fassbenders fight, I'm like I don't know what's happening, I have no idea who's hitting who, and I think it kind of all kind of came from Paul Greengrass and I can't not.
Speaker 2:When I think about that, like all the stuff and that firstborn movie, I can't just not imagine someone behind there going.
Speaker 1:You're shaking a camera so yeah, then as they're running, he's getting, he like falls down like this cliff and then like they release the dog, but he knew where he was going yeah, they release the dogs, which I love. Oh, this scene, this scene is so tense I remember. So they release the dogs. He jumps into the water. They shoot the water and doesn't hit him because he's using shotguns.
Speaker 2:Well, he goes under. Well, it's not even a shotgun, even if it's a breaks the bullet, yeah it just.
Speaker 1:It stops it completely thank you, mythbusters, for showing me how bullets and water work yeah, now that's why and uh again, I keep interrupting john wick too.
Speaker 2:When he or was that that was, it was three that one guy where they're fighting under the water, he's shooting him from a distance and it's just losing his momentum and john wick pulls up to him and pulls it point blank and shoots him and he's like yes, it's so good, just even like the fire would burn his throat from the gun.
Speaker 1:But then I love like he jumps in the water and he's swimming. The dogs chase him. Like the dogs, like hauling ass.
Speaker 2:I love, because a real dog like I know, like obviously they probably kept making sure the dog was safe, but that dog being real and swimming and doing it was so good and then, like Josh Brolin's character, swimming with one arm too because he just got pegged in the shoulders. Yeah, this is so good, yeah.
Speaker 1:And then you know he gets out of the water and his gun he's like drying it off.
Speaker 2:I loved all that little detail.
Speaker 1:I just remember me and Richard watching it for the first time. I'm sitting on his couch and he had, like the big box screen TV like a giant one and, like the dog's running up to him. I just remember screaming kick the dog, he's gonna get you.
Speaker 2:And then he shot him and I was like, oh, thank god, I kinda got pulled out of that moment. I was sitting there like I was tense, but Broly was laying in my lap and I was like, and he kept and I just had to clinch him Shut up.
Speaker 1:Shut up. Don't make me do this to you. So perfect, I love it. And then he gets away after he jumps through the water. It's a great tense scene. I love the dog almost getting him. It's so crazy. Then we cut to Anton Chigurh at a gas station. He's very antagonistic to the gas station clerk.
Speaker 2:I love this scene, so tense, and the guy who's doing it I could see like he props to him this one off little spot because I could feel his tension and his nervousness. Yeah, because they're all just like, oh, just passing the time, little small town talk and stuff. And then you have this guy who's like, you're like whoa, whoa, whoa.
Speaker 1:What so I just like don't say the wrong thing to out-of-towners man and they lived in your neighborhood, you'd probably known him his whole, that whole scene was so good and like that whole like friend thing, yeah um, and it's great because it tells you the the by the coin is telling you when the setting of all this is taking place, because it's 1958. It's been traveling 22, 22 years to get here and now it's here and it's either heads or tails and you have to say call it and his like explanation like what am I betting?
Speaker 2:it's like you've been betting with your whole life with it and it's like god, this is so good.
Speaker 1:It's like I need to know what I stand to win. And then, when he gave him, that coin.
Speaker 2:Uh like, his whole explanation is like don't throw it in there, it'll just become another coin.
Speaker 1:He's trying to put it in your pocket.
Speaker 2:So he's trying to explain to him. It's like this saved your life. Yeah, it's so good his character.
Speaker 1:And another thing that shows this guy is psychotic he's eating sunflower seeds and eating the shells with it yeah, and like just to even like, make it like, just to mind fuck the guy even more, cause he's like where do you want me to put it? Anywhere? Not in your pocket, where it'll get mixed with the others and become just a coin, which it is, and it's like what?
Speaker 2:yes, well, he's showing him. It's like I want you to remember this because he wants to fuck with him.
Speaker 1:Yeah, I want you to remember that this coin right here was your life yeah, it is wild because I've almost gone through like every scene of this movie and I could have said this is my favorite scene. This is my favorite scene.
Speaker 2:This is my favorite scene. There's so many scenes like this is a movie. I could sit here like that. This is my favorite scene. No, this is my scene, like it's scenes, the whole movie and every part of it love. Yeah, every scene is so good. Yeah, and uh, I love also like when he's just questioning him like well, what time do you close?
Speaker 1:it's like no, he knows, he's freaking out. He's just like squirming and he's just loving it and then it's like what time do you go to bed? I say around 9.30. Should I come back? Then it's like, alright, well, I'm gonna be staying up for the next week with a shotgun pointed at my door and then, oh, so you married into it and he's like, well, that's how you wanna see it and he's so offended by it.
Speaker 2:Uh huh, no nonsense. He's like don't like this whole thing of like you normal people try and put this uh facade of something that what it is on it's like no, you married into it and you did but the thing is I could see the backstory being like oh well, I had my own job and we're happy.
Speaker 1:Because he says like, oh, we didn't live here originally, we just came here to take over this or to count. We just came back here to be closer to our family. It's like, well, yeah, the was probably sick, they probably want to move close and they didn't want to shut down the store and he wanted to keep it going. Probably a completely wholesome and fine story. It's not like a story about greed or anything. No, it's just he doesn't like it.
Speaker 2:He just he's like no, cause, he's minimalistic and that's how it is, bare bones, like obviously there's. He sees things black and white. I would say yeah, and he's like no, like this is what it is. He's like I know how it actually is and that's what it was. It was. It's black and white moment.
Speaker 1:I'm also assuming that he's probably an immigrant himself and he probably made this whole hitman thing by himself and man. So maybe.
Speaker 2:Watching this movie, I was like I want more of this character. I would love if we just got. I know I don't want sequels, but I was like if we got it with the same directors, give me a 10 minute movie just like a 10 minute short. Just give me a little bit more of his life. Yeah, yeah it would've been great.
Speaker 1:We get back to the house.
Speaker 2:Llewellyn tells like Carla Jean we under the trailer getting all that stuff.
Speaker 1:Yeah, and it's like whatever you don't take, you'll never see again. So we gotta go. And she's like Llewellyn, what have you gotten yourself into?
Speaker 2:And he's got a fucking shotgun blast in his back and she's just like picking glass out and everything.
Speaker 1:But it's like, I mean, I guess he just kind of dominates the relationship. So it's like, yeah, so he sends her off to her mother's and he makes his way to a motel in the next county where he hides the satchel in an air vent of his room Love it. First time you watch it, it's like what are you doing? You see this string. So it's like, oh, it's just so he can hide it. And then, but then we see what's going to happen soon. Then we see two men, along with Shiger, who hired him, are at the drug deal site. That's a dead dog, yes, it is. Or my favorite part, I wanted to start it with it it's like mind riding bitch.
Speaker 2:Yeah, that made me laugh and I'm like man, this is not the person you want to say this to yeah, and Shiger strips the car of its tags so that the cops can't follow him.
Speaker 1:The men give a receiver that tracks the money, then Shigeru kills them both.
Speaker 2:He's like I got this Because, like you explained earlier, like why he did this, Like why did he kill these people? I was like, well, maybe it was because a boss guy in a building I don't know his name- yeah, honestly, I'm not 100% sure why he does kill these people in a building. I don't know his name. Yeah, honestly, I'm not 100% sure why he does kill these people. I think it's just what you said.
Speaker 1:He's like I don't need help, I've got this yeah, and it's like just getting rid of loose ends. I don't know well, because. I don't, because you know, he kills Steven Root's character, um, and it seems like he's just pissed that he like them off. But then I'm assuming that the reason Carson Wells is brought back was because, well, it's like, hey, you just killed two of my guys here, so like we don't know what you're doing anymore.
Speaker 1:He doesn't understand who he hired to do this, yeah, and it's also like are you even going to give the money back to me, or are you going to give it to whoever someone else hire you, you know? So that's kind of how I feel. It's kind of a little murky, but that's kind of what makes it great.
Speaker 2:Well, they do mention like he might just kill you just because you inconvenienced him. He's a person of like kind of took it as an insult, like I don't need this, I can do it.
Speaker 1:Yeah. And then we meet back up with Sheriff Bell who is getting his horse ready to go to the site. His wife is very sweet. It's like don't hurt, do that? Bell is on the trail of the killings with his deputy, wendell Love Wendell. Sheriff Bell says he recognizes Moss's truck and they go and investigate the scene. This is where it's like it's a mess, ain't it, sheriff? If not, it will do till the mess gets here. Here's. I love this scene. So it's very slow, they're just walking, walking around it, but, like with the guy on the horse, the scene is shot so perfectly and like the continuity of it, where he's just like walking around the whole thing and then the scene ends where it's just you have Sheriff Bell sitting there and then Wendell walks up behind him and there's no continuity issues.
Speaker 2:No, it's so beautiful, it's so good because he's also monologuing about, like you know. He's explaining the scene like well, this happened here, this here. And they're not like obviously they've seen some stuff, because they're able to analyze the scene. There's not like the typical younger kid. He's like I don't know what's going on. The older one explaining everything. He's actually like using someone who's deducing stuff.
Speaker 1:Wendell's the one that's like oh so these are point blank. So this was later. These guys are all decaying and another thing I like about this movie. So they had to get really expensive fake blood to put on all these characters because when they're starting to use the cheaper one, bugs and ants were crawling all over the people and stuff. So they had to go with very expensive fake blood that the ants didn't want to eat because it's all syrup.
Speaker 2:One thing I noticed is Tommy Lee's character. What happened to the drugs? Because he lifted it up and the drugs were there and he looked down there and was like there's not as much. Happened to like the drugs Because, you know, he lifted it up and the drugs were there and he looked down there and was like there's not as much dust built up here. The drugs were here. Yeah, so did.
Speaker 1:Anton take it back? I don't think Anton did. I think I'm assuming the two guys whoever I'm assuming like the cartel probably came back, got all and then that's how the other guys ended up finding out about it. Maybe, I don't know, I'm assuming both sides of the disagreement both came back to like well, this was the meeting point. We haven't heard from any of these people Get our drugs back.
Speaker 2:At least we're not getting our money.
Speaker 1:Yeah, I'm sure one side came to try to find the money. The other side probably came to try to find the drugs. Brown drugs. Is that what he't it? I don't know. I'm assuming. I think brown, no black tar, I don't know. Yeah, I'm not sure. Let's see when are we at. Where are we at? So then we sugar. He goes to Moss's place to find it empty, so he has himself some milk.
Speaker 2:And this is where we get to see how he gets into the're calling to. So now he knows where he needs to look, because it's like, well, you're here yeah.
Speaker 1:I can find you and I also love the. Uh like the when he pops the door open and it makes the crease on the wall. It's so hard that you can see the outline of the wall it's showing like how hard it can hit.
Speaker 1:Yeah, it sets it up for later in the scene in the hotel yeah, and then he has some milk and he looks into the TV screen, which is great, because it's going to be very frustrating if Sheriff Bell watched this movie and be like, damn, I was literally sitting in the same spot, he was looking at the same TV and I just missed him. So then he goes to the trailer park office. Love this lady. She's like one of my favorite actors in this because he's like oh, where does he work? It's like where does he work? It's like I'm not allowed to give out that information he wanted to kill her yeah, but it shows you how.
Speaker 2:He's just someone who's like.
Speaker 1:I don't want to cause too much ruckus right now because if I do, that's not the, it just pops up okay he looks and he's like lucky someone else is here, yeah, or you would be gone yeah, and he probably would kill her because, like you don't need to know what I look like, but I just love whenever like he's leaving and she just like sits up a little bit and like stares, gives him a look and she's like I'm not scared of you, I fucking got you and I was like wow, that's probably the only person he was ever scared of.
Speaker 2:In this entire, I feel like they actually do something.
Speaker 1:It's like thank God there was somebody in the bathroom. So then the deputy and sheriff are at Llewellyn's. They notice the lock has been shot out. They enter, Bell notices the lock hitting the wall. Then he notices the milk is sweating and he's like, oh man, we should probably put like a APB For who, For who? What do we say? Looking for a man who just drank milk?
Speaker 2:Now, if they had thought, I mean they could have went up to the front desk, that's what I told Natalie.
Speaker 1:I was like this is like one of the few things in the movie where it's like whoa.
Speaker 2:But also you wouldn't think to go there because, like, how are they going to know? They wouldn't know In his old age.
Speaker 1:You know, he's like kind of the point of the whole movie he's not cut out for this anymore. Um, like, maybe Wendell should have been. Like hey, let's ask around see if anybody saw this guy. Um so, and then I love that you get the line he's seen the same things. They're talking about Llewellyn, and like oh, they must have got away right, and it's like he's seen the same things I've seen. And it certainly made an impression on me. And that's when we cut back to like looking at the TV.
Speaker 2:I don't know, oh, dude, how they set this stuff up. It's just I would love, like there's certain directors I would love to watch the process of it and like just kind of seeing how they work in their process. These would be like some of the directors I would love to see, like Wes Anderson, dennis Villanueva and the Coen brothers. Yeah, like Wes Anderson, dennis Villanueva and the Coen brothers. Yeah, seeing their process and what they come up with, because seeing a creative person and their work is so different. It's like when you watch someone who's doing like drawings and stuff and you see them just going, you're like, oh, that's really cool. Yeah, I would love to be like just watching on the set On a movie set.
Speaker 1:Yes, I. It's like man, I need to win the lottery and produce a movie and be like here. Coen's, let me just watch you make this man. I think about this. Do whatever you want.
Speaker 2:Off topic. It made me think of like always, you know, you think about winning the lottery I was like I would like to set up something, my own movie company, and when directors are like, well, I'd like to do this stuff you know, executive producers want to do this I'm like you. And then just like, because there's always something that, um, I read a something, it's like, oh, we always have this with, like people who are executive producers or doing it, uh, people on sets. Well, like it was like a scene for a movie where it was like death and stuff like that, and it was a gloomy room and they put a bright red rose in there, a different flower, and they did that on purpose, because they knew it didn't fit so that way when an executive comes in and because they want to feel like they contributed somehow.
Speaker 1:Yeah.
Speaker 2:He's like, oh, that doesn't belong. They're like, oh, thank you, we'll do that. And then they take it out to feel like they produced.
Speaker 1:Did something I'm like that's great. I remember this because I said the process of getting money for it. It's really hard for indie people to do it. That's why Robert Downey Jr doesn't want to do indie movies, because they always end up asking him for money.
Speaker 2:Well, he got it. I mean, he got Dr Doom money. Now.
Speaker 1:Yeah, but I remember Mark Ruffalo being like you know, you just kind of got to like take what you can get and you meet with so many people that are willing that potentially will give you money, and he says I met with so many people that have like won a lottery that will say they want to help produce the movie, but then they end up backing out last second and I was like, oh, that's probably what I would actually like that's the thing about that.
Speaker 2:I think it's one of those like if you're gonna do that, you have to be someone who's smart with the money on the lottery. You have to have accounts and stuff and like this is my budget. I have to talk to my accountant. I have this money. You have to be willing, like if I did it, I would be, I would be one of those people I've covered all my bases. I know this might not pay off, but I know where this is, like my fun money.
Speaker 1:I'm doing it for the deal with taxes and stuff and it's like holy shit, if I get into this, there's going to be years of dealing with me putting money into this one thing.
Speaker 2:You have to be set up for it. It's not just like because people who have lottery don't seem to think like, oh, I'll just do this. No, you need to make sure you're prepared for this. Talk to accountants, talk to lawyers, talk to all this. What am I going to have to deal?
Speaker 1:with I'm ready. And it's one of those things where it's like, if you win the lottery, you're like I don't do shit, I won the lottery, I just want to chill and have fun.
Speaker 2:That's what it's for yeah.
Speaker 1:So then we see Sugar, he's calling all the numbers on Llewellyn's phone. We hear him that he called the mother and on his way back to the motel he knows, oh wait, when he does buy the socks it's like well, we only got white. It's like why is there only one I wear? I don't know. That is like all we got is white.
Speaker 2:Like who cares? Yeah, it's just.
Speaker 1:I don't know. It's just like a little funny line. It's like a classic Coen Brothers type thing. So on his way to a new motel and the cab driver's like I don't want any funny business, it's like you're in a hole, I'm trying to get you out right now.
Speaker 2:He said like you're in a jackpot. Yeah, jackpot, that's an interesting way of saying that. But okay, he's like you're in a jackpot, I'm trying to get you out and gives him like a hundred or something. Yeah, so I of the truck, because of the one that showed up that night.
Speaker 1:Yeah, and it's just a little more of the theme of the movie where, like this, cab driver is like get out. Oh, here's some money. All right, I'll keep going. Money talks when you're in that world. So Llewellyn goes out and buys a gun and a tent for some tent poles. He just originally wants some tent poles, but they don't have poles.
Speaker 1:And he just wanted the pole so he could pull the thing out, because at the hotel we see Saul's off his shotgun. He goes back to the original hotel and gets a second room across from his room his first room because he's staying at 138 originally, and then he gets 38, which is just on the other side of it, I guess 138 was their room.
Speaker 1:Yeah, well, it's the room that he originally put the money in that vent. Were they staying in his room? They were waiting for him to come back. Oh, okay, yeah, so they weren't staying in any room, they just broke into his room.
Speaker 2:Okay, because I was like, so he took the, because she said you could take this room. It's right across Like no, I'm fine with. Was staring that he went into 138.
Speaker 1:But, maybe I'm wrong Sugar did To shoot all the bad guys? Yeah, I don't know.
Speaker 2:I can't remember. I'd have to rewatch it immediately.
Speaker 1:I just watched it last night and I couldn't remember myself. It's like I needed the map as well.
Speaker 2:I love that he did that, because he went and stayed at the other hotel and he came back. Was it the next day? He came back and told the lady he was wanting to get another room.
Speaker 1:Yeah, elevator's, like it's got two double beds.
Speaker 2:I love it because she's like I don't care about all these beds, it's just me.
Speaker 1:Just let me have a dang thing, All right. So in his new room he listens for people through the walls while he's trying to pull out the suitcase. We then cut to Chigurh driving and now his receiver is picking up the signal. Llewellyn is constructing a hook with his tent poles to receive his briefcase from the tents. Chigurh finds the room Llewellyn first bought. He buys a room himself and analyzes the layout. Then he takes his shoes or his boots off, heads over to the hotel room so they don't carry him walking.
Speaker 2:I'm like I that's so smart.
Speaker 1:Yeah, it's great because you're seeing like the end of llewellyn's process and then, like during that scene, you're also getting the beginning stages of sugar's process and it's like fun and I just love that. He's hearing like the gunshots and stuff through like the vents and he's like when he gets in that room.
Speaker 2:So tense that first moment when he gets in that room and he shoots that guy. You don't just most of the time they shoot him and the chests are gone, shoots his arm and his dangling there I was like oh yeah, and his little silencer.
Speaker 1:so I guess that's something from like the book and it's not something that exists. Yeah, so they had to make up their own thing. So he, shigeru, probably had to make the silencer and he probably made the kettle thing, and it's like he's such an ingenuitive, yeah, person.
Speaker 2:Well, like that noise too that it makes when he shoots that shotgun. I swear, I heard noises like that at the factory. Really, it's one of those things like if you can make certain noises in a movie that you think of Anytime I hear something like that, think of that immediately. Yeah, that you think of anytime I hear something like that, think of that immediately yeah.
Speaker 1:So he's burst into Moss's hideout, moss's motel room. At night, shigeru surprises a group of Mexicans set to ambush Moss and murders them all. During all this, moss is getting the briefcase and can hear the gunshots. Shigeru searches the room and then notices the vents but just I went a little too fast there.
Speaker 1:I love the shooting the wall and then notices the vents, but just I went a little too fast there. I love the shooting the wall, shooting the guy in the bathroom, but you know like kind of the more haunting one is the guy in the shower right, because he's like pleading for his life.
Speaker 2:But then he like closes the thing and then shoots it Just so he doesn't get blood on him.
Speaker 1:Yeah, it's just like I love it.
Speaker 2:Well, he's like how did you? Didn't he say how'd you find it? How'd you find it? Yeah, because he thinks they have it.
Speaker 1:Yeah.
Speaker 2:But he just taken everybody out and when he pulls that shower curtain I'm like it's not because he's staring someone down because he doesn't care. Yeah, he doesn't care.
Speaker 1:No blood, because there's so much splatter, when you shoot someone point blank with a shotgun all over him and then he takes his socks off. And then whenever he goes in and I love that he's like pulling change out, and of course he's not going to go for the quarter Yep, because he's got to flip that at some point he grabs the dime. And then what I love is that because the guy in the bathroom that got shot like shot his Uzi and like it went all the way up to the roof.
Speaker 2:I didn't even notice that.
Speaker 1:I'm like, oh fuck, they're so good Detail, they're so good. So he searches the room. He noticed the vents. By the time Sugar removes the vent cover with a dime, moss is already back on the road with the cash. And this is where we cut to the scene, where we meet Carson.
Speaker 2:Wells, I do love that scene. That guy who's driving him. He's like Shouldn't be doing that. Even a young fella like you, yeah, shouldn't be hitchhiking.
Speaker 1:I was like you shouldn't pick up hitchhikers.
Speaker 2:Yeah, you're in the 80s. You know what happens with hitchhikers you die.
Speaker 1:But it's just like another person just trying to do a good thing. But like, hey, dude, like if this was at the wrong time you'd be in trouble too. Guy, oh yeah, wells, he is talking to steven root. Um, you know, king of the hill fame mike judge guy, because he's a. He's like the fatter guy in king of the hill, like the balding guy from king of the hill that's the voice.
Speaker 2:Yeah, isn't it? Yeah, bill, yeah, I never knew that was his voice and the stapler guy and he's in barry, uh well, it's so funny because I I put it down, I put my note was stapler guy, always a boss. Now, yeah, that's so funny Because I just watched a movie with Andy. No guy from the Office, andy yeah, I know who you're talking about Watched a movie with him where he goes on a trip and he's a boss in that.
Speaker 1:Oh really, yeah, that's great. So it's essentially just a meetup because Carson Wells has got a search. He's also now on the search for the money and he's like kind of, I guess, supposed to keep a lookout on Chigurh potentially.
Speaker 2:It seems like he's just out for the money and he wants to get it back before Chigurh gets it In this moment, like when he's getting the money, he knows that the cartel is looking for him and then he's like they're getting killed. Someone else is looking for this money. They. He's like it's this thing. He makes this connection Obviously they're following me because they know, yeah, someone else is following me. How is this other person that's when he's laying awake has another moment? He's like there ain't no way.
Speaker 1:Yeah, there ain't no way. Um, and I love in this scene it's got it's uh, my favorite line from the scene. It's like Steven Root's character. Just how dangerous is he, carson Wells, compared to what the bubonic plague? Um, and he says that he will find him and take care of the situation. Um, I don't know, he just comes in, uh Woody Harrelson, and just kind of like steals.
Speaker 2:I love. He's like I didn't say this. He's like you're a man not to waste a good empty chair and I was like this is such a good scene this is so I just love the banter and everything and just Woody Harrelson.
Speaker 1:He's so charismatic, no matter what, even when he's nuts, yeah, and I don't know. I love the fact that, like he just faces everything, it's like, oh well, you're. That's. The one thing holding you back is that you're not a psychopath potential or as much of a psychopath as sugar. So in a border town we see Moss. He gets a room and tells the man at the desk to call him if anyone else checks in. By anyone, I mean any swinging dick. Yeah. He goes to bed but wakes up saying there just ain't no way. Moss finally finds the electronic bug, but it's a little bit too late.
Speaker 2:Because he calls the front desk. You can hear the ringing.
Speaker 1:Yeah, because he hears a commotion first and then he calls it and it's such a great thing because I was going to bring that up that he calls and you hear the phone that he's got, but you hear it in the background too, and it's like most people wouldn't have done that. No, but it's so it just makes it haunting.
Speaker 2:No, and like his like being quiet because like when I'm the girlfriend's asleep, that's how I am. I'm putting stuff. Like you know, you just drop stuff. Like when you put something down leaves a little noise. He's very cautious to like drop it slowly, so it puts nothing on there at all.
Speaker 1:Yeah, and this next part that we're about to have, it's like I noticed. Like this time I'm like, oh, this is what separates Moss from Sugar, because after he calls down the desk and gets no answers, he like turns out the light and waits for Sugar. We see feet standing at the door. My immediate thought is like shoot, but it could be anybody.
Speaker 1:And I think Moss thinks like oh, this could be like the guy at the front desk was in his door and he went up to I would have shot and I was like and same thing.
Speaker 2:I'm thinking about you. He's still someone with a conscious conscience and he doesn't do it. And I'm like, if you just pull that trigger man, you shot in my head I would have been like I would have pulled.
Speaker 1:And just and just suffered later. Yeah, it's like just hope it was like a certain person. But then so the guy. He like we hear Sugar undoing a light bulb in the hallway and then I'll start. And then he like he's getting ready for him to like kick the door in, but it gets me every time. It jump, scares me every single time, because I always listen to this movie really loud because it's so quiet and I don't want Snake to bark. And then bah, and I'm always like oh, and then it hits him right in the side and that moment of delay right.
Speaker 2:There is also another thing that, like it, calls back to the other scene when he hits it and it leaves that end in the wall.
Speaker 1:It shows you how powerful it is so it like puts a. I thought that was just. I thought, cause that's where he's getting.
Speaker 2:I thought that's where he got shot. Oh wait, it probably is where he got shot but it shows you that moment of delay that hits him like, oh, it makes sense because of how much power it has. It would stun him because if he didn't get stunned he might have been able to get him. But that stun moment was enough for Anton's character to do what he needed to.
Speaker 1:And then we get the big firefight between the two characters. It spills out onto the streets and it leaves them both wounded. But so I love, like running in the empty motel. He jumps out the guy he goes like Anton tries to shoot or no, so he jumps out. He goes to the front, he runs back through it to be like oh, I'm gonna go backwards because he'll probably think I'll just keep trying to run this way. So he's trying to outdo him, but sugar is so smart.
Speaker 2:I'm assuming he just goes to a different hotel room and he's probably looking because he has the advantage and that like it. I think it's because it's kind of connected. He can look at both sides of it, yeah, and he's checking because he he also knows this is like this person he's like knows it, this knows it.
Speaker 1:This guy's a little bit smarter than.
Speaker 2:I expected. Yeah, he's able to anticipate. He's like I know what you're going to do.
Speaker 1:Yeah, and then so he got the shot from the hotel. He's running in the empty town. Lou Ellen goes in to get into this old man's truck. This is a scene I did for my editing class that I was talking about, not even thinking. This is a very bloody scene when the guy gets shot in the back of the head and like you have the giant breast of like blood shooting out and I'm like I just remember, like some of the girls going like oh, and I'm like oh, no, I forgot, I'm desensitized, yeah, and so like he shoots the man in it and Llewellyn has to kind of control the thing. Here's something that I kind of thought for the first time. I'm like I'm pretty sure Llewellyn crashed that truck on purpose because he was driving fine. Then he turns and he's going straight and then he purposely runs into the car and it's the fact that when he gets out he lightly closes the door. I think he did it so he could get a step on and to kill sugar there.
Speaker 2:I could see that, but I could see why he wrecked too, because those things just swing like boats. Um, was that scene also happening, where Anton drives over the bridge and just tries to shoot the bird?
Speaker 1:oh yeah, we already skipped it well, is there anything on that?
Speaker 2:is he just wanting to do it just for fun?
Speaker 1:um, because I was like he could have killed it, but he chose just to fuck with it and you know, while watching last I meant to be like kind of look up what that's supposed to represent, but I think it's just like he just is a fucking psychopath. I mean that's what they do, but he missed.
Speaker 2:That's why on purpose, though, because he was literally right there he could have shot it, but he chose not to and just let it fly away. It's weird, I weird, and I think part of me was thinking is like.
Speaker 1:Does he have like?
Speaker 1:a superstition thing, like if you pass some kind of bird like this, you know it's not good and he's like, oh yeah, not gonna happen. I don't know, I think I should have looked it up. Um, also something I like about this, because they're having the whole fight, um, but as sugar gets to the car, the truck, um, he's like, oh shit, I think this is a setup. And he immediately turns around and ducks out of the way but gets a little bit of a shot follows the blood, just like him, yeah and, like sugar, is able to run away, and then he's like, damn, he got away, um.
Speaker 1:But what I love is because you can kind of see he's watching the reflection of sugar. He's like the shape from halloween, almost he's the boogeyman, he literally is the boogeyman and I. I was like, oh, I can put that in my notes. So then we got Moss. He's going to decide, he's going to cross the border. He sees three guys walking towards him and he asked for his shirt for $500. One guy were you in a car wreck?
Speaker 2:Were you in a car wreck. Another thing about that scene I was like I guess he's like you got to think, oh, they're asking for money. They're not good people. It's like they're better than they could have, because he probably cracked open that case, yeah, and brought them money. I didn't give them money, they could have just kicked his ass and took it, yeah.
Speaker 1:Right, Well, I know he had a. He put some in his pocket.
Speaker 2:So I think he had see him throw the money over the fence, which is smart, smart, not smart. So I'm like you know how many? I feel like people would kind of be there, but I mean they're really not being strict on that border right there yeah, not in the 80s and just when he gets the shirt has the beer in his hand. I feel like that was really smart, because he knew the guy was just kind of not caring because those guys just walk through but he's obviously like super bloody and the guy's sitting here like half asleep, like something seems off.
Speaker 1:Yeah, but he had the beer, so he'd be like I'm drunk.
Speaker 2:Oh, just some drifter who's done gotten to a fight or something.
Speaker 1:Yeah, um, and then he, we cut to him and he collapses, I guess, like on the steps of some sort of Mexican street or whatever. And you got the mariachi people like strum band, like what they're saying is um, you wanted to fly without wings, you wanted to touch the sky, you wanted many riches, you wanted to play with fire. So it's essentially they're just singing about like the whole, like theme of the movie, essentially which is hilarious because it's also just a really funny scene.
Speaker 2:It is because he because he's sitting here like lucky he didn't bleed out and die, yeah and then wakes up and I love when he lifts up the shirt and they're quiet and they're like oh shit.
Speaker 1:Then he gives them money and asks for a hospital. This scene doesn't exist in the book. So we cut to Shigeru who talking about process.
Speaker 2:We cut to Shigeru who blows up a car so he can steal medical supplies from a pharmacy he does that scene because he's in the truck or whatever he's in, and you're like, oh, he's gonna start trying to clean himself up real quick. He's like, no, he's, he's gonna go do it the right way.
Speaker 1:He's messed up, yeah, because after we see him put the the shirt into the gas tank, he puts like a little cardboard like thing that you'd find in a medical, yeah thing, and like puts the lights, the rag, on fire and then just walks into it and explodes. Everybody's running around freaking out.
Speaker 2:He just you see him limping that explosion. He doesn't even blink.
Speaker 1:Sounds like that's, so he probably knows the timing and everything of it, because he's crazy. Then he just goes in there, grabs everything during all the chaos and walks out, um, and then we cut to him. He's cleaning his wounds and dress and dressing them.
Speaker 2:What I love is because we cut to him and he's like pale, he's sweating, he's like fucked up and it's like the first time we saw him like whoa this guy is, he's killable well, that's the thing I like about this is that sometimes, when you watch movies, like with people like this, if they're not like jacked up serial killer, like jason, yeah, they always try to make them too like he's impossible to kill, like no, these people are human and they show that Like that's what's great, it's like you can kill him. It's just you have to be smart and better than him, and it gives you hope.
Speaker 2:Like Moss can make it. Yeah, because he's like, oh, he wounded him.
Speaker 1:And sometimes kind of the issue with some of these, like Michael Myers, jason and all them. It's like they're like we're not just, we're not gonna be able to kill him. Well, that's what I also like about the Predator movie.
Speaker 2:You see him stitching himself up like yeah there if he bleeds, uh huh it can kill it, you can kill it. Uh, and like you're right, it does give hope. But in this moment Sugar has has, he amps it up more. He's like I know how he like takes it. He starts planning more instead of just going himself. He's like I've got plans now because he takes into account his wound.
Speaker 1:Yeah, and something that this movie shows like Anton's a big dude, he is Bardem's like whenever he's like naked on the toilet and I'm like, damn, this guy's just big.
Speaker 2:He's just a tall person. He's got a natural big bill. He doesn't. I don't know if he really works out, but he, he's just a big guy.
Speaker 1:I'm like, oh yeah, like if I was in this world it'd be like, especially when he pulls over that guy in the cop car. When he's in the cop car, I'm like he's very intimidating, yeah, int. And then we cut to Sheriff Bill asking about the cars. He says he's going to go see Carla Jean. I love it also. Through this whole thing, like the DEA and everybody's like they're constantly being like trying to get a hold of him. He's like I'll call him back later. He's like oh, do you want to go back?
Speaker 2:to the crime scene. It's like is there new bodies? And I'm like no, and why would I go back? I love to.
Speaker 1:But also, at the same time, I think it shows like he's not cut out to be a cop anymore. He's ready to like. It's like I mean part of this. It goes along with not going to the desk lady at the trailer park. It's like you know, maybe if you're potentially a little bit better of a cop, he was probably, and also he's showing, like you know.
Speaker 2:He's like he's he's the old timer now too, yeah, and he's like. I'm not cut out for this type of stuff because it's very in-depth.
Speaker 1:It's all passing him by. So at the hospital Carson Wells offers protection from Chigurh in return of the money Kind of talk about Chigurh a little bit. Moss is like what is he the ultimate badass? He's like, yeah, pretty much. Moss says he doesn't need it because he won't find him. But wells found him in three hours and like he's like he knows where you're going, dude, like we know where your wife, your mother, everybody is. Carson says he could be going to odessa to kill his wife. Carson tells him he's not cut out for this. He tells him he is staying at a hotel across the road. It's the same one that, uh, essentially he was staying at. Ma says he could just make a deal with anton, but carson says he will kill him just to do it, just for inconvenience him.
Speaker 2:Yeah, and I love because he also showing him. He's like I know you tell me when you can't handle this. Yeah, he knew he would do it. Yeah, and I don't know how anton knew about this guy, because it seemed like he knew him.
Speaker 1:Yeah, I'm assuming they just kind of maybe know each other. Because he remembers, because he met him once. He says in the Stephen Root it's like yeah, I met him once, like something, blah, blah, blah, 1970-something. Okay, so he knows and he, like, he doesn't forget faces and he knows dates.
Speaker 2:And he probably knows he's there because he probably found him. He's like this is my easy way to do it yeah, he'll come to me.
Speaker 1:And then, uh, so meanwhile Belle visits Carla Jean and informs her that Moss has tangled himself with some bad people who won't stop till they kill him. Asks her to call him as soon as she hears from Moss so that Belle can protect him. Wouldn't be able to protect him. And then this is where you get the whole scene where he's like thinking about the cattle prod gun, so he's giving this like whole speech about it, because his mind just wanders sometimes. As he says Carson is searching for the briefcase and finds it, he doesn't grab it and goes back to the hotel. There he's followed by Anton. Oh, I love this scene where, because he just walks up the stairs out of the right corner, oh, here comes him. He looks back and just like smiling at him. It's like come on, let's go.
Speaker 2:One thing I would say I would maybe be a mistake is that this place would be a crime scene because dude was killed.
Speaker 1:There would have been cops there, local PD, and they would be like yeah, I don't know if it would be like because it is a place of business. I mean, it just seems like the police work near this town and all this area. It's just kind of like all right, yeah, I see all the bodies. All right, let's keep going.
Speaker 2:I don't know, I just was like they wouldn't be able to get back into this hotel.
Speaker 1:Yeah, I would think they wouldn't, but like I don't know, it may be just Because, and everything.
Speaker 1:So they go. They sit in the room there. Carson says he doesn't have to do it. He says he could take him to an ATM. He's got $14,000 in it. Carson tells him that he knows where the case is and he could get it for him. But Anton says if he knows where it will be. Or Anton says he knows where it will be and it will be brought to him. It looks to be the end for carson. You got the quote sugar and you know what's going to happen now. You should admit your situation. You should admit your situation. There would be more dignity into it. Carson, wills you go to hell, sugar. All right, let me ask you something. If the rule you followed brought you to this, of what use was the rule, carson? Do you have any idea how crazy you are, anton? You mean the nature of this conversation, I mean the nature of you.
Speaker 2:I love it because, like every time he says, like he sees him slipping, he knows he's like his facial expressions, anton's, he's just like huh, it's just like it's happening. He's like I was dead as soon as you walked behind me. And, like Anton just knows, like he's saying these things, like it's the same stuff everyone always says yeah.
Speaker 1:And what do you think he's meaning by like? If the rule you followed brought you to this, what use was the rule I?
Speaker 2:kind of didn't understand that part too much.
Speaker 1:When I think about it, I kind of think about the moss taking the water to the Mexican guy in there. It's like, oh, this one thing where it's like, ah, this is me, this is what I have to do, I have to go help this guy. It's like the rule I'm following.
Speaker 2:Oh, your own set moral compass type of thing or what you do. He's like yeah, if you didn't go here you wouldn't be in this situation. It's again on Anton's character of, like, you have all these things that you can put in front of it, but if you get down to the basics of it, the bare bones, yeah it also is like brought to like the end of the film whenever he gets hit by the car.
Speaker 1:It's like you followed all these rules and look, you got a broken arm, your bone sticking out. It's like, was your rules any better than anybody else's right? And then the phone's ringing.
Speaker 2:Anton looks at it shoots no delay with him, didn't even care. That's why I can see this is the best version. There's no hesitation that. You see, at the time they'll just sit there and look, maybe a smirk or something.
Speaker 1:He just does it done yeah, and then he picks up the phone call. I love it because you got him casually lifting up his feet because he doesn't want to leave any footprints with blood on it. Shigeru promises Moss that Carla Jean will go untouched if he gives him up the money.
Speaker 2:He knows that he won't, because I think he knows this guy. He's like you could have stopped this already. Yeah, it's like you want it. You're a man who's like your pride.
Speaker 1:I'm going to make a special project out of you. You're a man who's like your pride. I'm going to make a special project out of you. Something I love, though, is when Moss calls like is Carson Wells there? Not in the way that you are meeting so good? So Moss remains defiant. Moss reenters the US and retrieves the money. I love the little. It's obviously a lot harder to get into America than it was for him to get into Mexico.
Speaker 1:He's got the guy like grilling him and the only way he's like I was in this company and stuff Like oh, okay.
Speaker 2:It's like all right, somebody take care of this man and get somewhere he's needed and could go. I also like the scene where Woody Harrelson's character is at the thing and he was telling him he was in there too. He's like what does that make us? Yeah, yeah, I think it was more of like I don't know if he was trying to empathize. He was just saying like I understand you more than you think because I served as well, type of thing. Like you know. Yeah, I don't know if he was trying to do like the whole, like have something in common, or he's just showing him like you're not like as good as you think you are. I did the same thing and type of stuff.
Speaker 1:Yeah, he, you can take care of the situation because of the training To show him like.
Speaker 2:I've been. I know I guess that would make sense. Yeah, he's like I was also served. I know what you think we're in. This could be in the same mindset. You can't do it. You need to listen. Yeah.
Speaker 1:And then Moss arranges to rendezvous with his wife at a motel in El Paso. Send her out of harm's way. Anton goes to the man who hired Carson. He immediately kills him. Just walks in and kills him. Apparently I guess he was hired by that guy and I love I missed some of the scene here because I had Messed with Broly or whatever.
Speaker 2:I don't know maybe, but it was like why did he do it? Because he gets the other guy to talk. I really wanted to go back. I was like it's late.
Speaker 1:I can't like go back and analyze um well, the other guy's just like there for a meeting. But yeah, and mostly what I take from it is just like, are you gonna shoot me now? And it's like, did you see me?
Speaker 2:but why did he shoot him? Was it just because, like, how dare you have these other people?
Speaker 2:yeah, the other people that it's like what I was supposed to be the one and man, when he shot him and like he's like got that uh, uh peppering all over his face which is a good detail, because shotguns do that and he's just like got him in the throat, he's slowly like makes me wonder if, like I know, anton probably just shoots to make sure, but I feel like he can like I'm gonna shoot you to make you die slowly, yeah um.
Speaker 1:so when carla jean boards the bus to el paso um, some of the mexicans who have also been hired by the buyer boss that shot hired Chigurh are there, and Carla's mother tells them where they are staying. They're just been following him.
Speaker 2:I also get that a little bit. It's like I knew three years ago I got the cancer and stuff. Yeah, I got the cancer and I'm wondering. When I heard that it made me think I wonder if that's also part of his motivation for the money. He's like I can get that money to get the mother treatment.
Speaker 1:Yeah, potentially.
Speaker 2:Even though he, like, has a disdain for it. But you know he's still like. It's his wife and his wife loves mother. I don't want to watch her die and cancer sucks. So I could probably get her some treatment.
Speaker 1:And also where some younger men are manipulating this older woman. No country for old women as well. Carla calls Bell. She reluctantly accepts Bell's offer to save her husband and tells him on the phone where Moss is headed. Anton receives help from a stranger and asks which airport he should use. After he gets info from him, he kills him and steals his car. I need you to take all the chicken crates out of the bag.
Speaker 2:I know, yeah, and then you see him later washing it out and I'm like this is like him getting like that other thing, just changing cars all the time smart yeah, yeah, moss stops at a hotel and meets a girl, and then we cut to black and then we cut to the sheriff driving.
Speaker 1:Yeah, we see him driving. And then all of a sudden we see this pickup truck with I'm assuming it sounded like they were mixing guys. They're all hightailing it out of there. We hear the gunshots and stuff and we just see that Moss. He goes up to the motel room and we see Moss laying dead. He let his guard down, drank a little bit too much probably.
Speaker 2:Well, in that scene you could say he let his guard down, but he did. Well, the woman was dead in the pool, right yeah, because it's like did they show up immediately?
Speaker 1:Or Well, so I mean just from the timeline of the movie it looks like it's been a little while, because it would have taken Bill some time to get there. So yeah, he's probably a few beers in having a good time.
Speaker 2:Nobody's supposed to know that he's going there, I wonder it's one of those things you get to think about, which I like, Because when I first watched this, I was like what's going on and they left. And when he walks up and sees it, he's like this is him right here, what?
Speaker 1:Yeah, what do you feel about them not showing the death? Um, a lot of people struggle with that. When I tell them like hey, you should watch it, they're like we don't even see the main character die. I'm like this is like it's kind of the theme of the movie.
Speaker 2:Yeah, like when you go into it it's like Moss isn't the main character. Yeah, it's.
Speaker 1:Bell.
Speaker 2:I can see like, as you say, bell, but in my head it's Anton. Yeah, because we finish. I know we finish off with bell, but you're like it is bell. But I guess you would say, if you look at like main character bell, anton, he's not the main character in this.
Speaker 1:Yeah, uh he's the person we're rooting for yeah.
Speaker 2:It's your person you want. And Anton didn't even have to do anything. Yeah, he just got you know kind of like lucky. Yeah, they, they, they followed through with their thing. And I don't like in my head it's like did he let his guard down or was it? I mean, there's only so many people you could take, because if he did let his guard down, there was like two people dead, like two of the cart, yeah, so he was able to still get it Because they ran away.
Speaker 1:He had his gun on him.
Speaker 2:Yeah, he had like he obviously did enough where they ran away because? Because they didn't get the money.
Speaker 1:Yeah, they were like oh crap, he's armed, let's leave, he just got unlucky yeah, it just became too big of a shootout, like too many people.
Speaker 2:He was probably anticipating one person still and he got killed in the hotel room earlier with the other people by Anton. He probably was he. He just solely focused on Anton.
Speaker 1:Yeah, it wasn't he had tunnel vision and I think it's just like you know. He went, he just wanted to have a good time, cause he's had no good time at all, and then instead he should have been sitting there at the motel, getting a motel room, getting another motel room, doing all the, but also the motel event had it where he couldn't do his little trick because it had a little hole.
Speaker 1:It was just like a small hole, I don't know, I know. The first time I watched it I was like whoa, is this dead? But like every time I've watched it more.
Speaker 2:I'm like, ah, I just totally get why it's dying. If you watch it the first time, you're going to be upset. But after years of mulling it over because I still remember this movie very well after watching it- so long ago because it's just such a good movie, and then watching it again, it's like I know it's coming. I just feel like it speaks to I don't know in my head. It's like he, just like Lou Anil, walks up onto a scene and stumbles upon something.
Speaker 2:You don't see it, you stumble upon, that, you walk up to the aftermath and because there was no like it makes the natural conclusion make it makes sense because obviously they're not done. They're still going to keep trying to get their money. Yeah, they still got to try to find this money and they found their way. Like there's other players in this game, they just got yeah, what they needed.
Speaker 1:We're just following these three people and it makes sense.
Speaker 2:It doesn't make this weird, like the cartels there. Along with Anton, they're all fighting each other, type of thing.
Speaker 1:Yeah, that'd be bad. Yeah, that'd be like what every other director does. This is the realistic take of what it does. Yeah, and it works.
Speaker 2:I appreciate it Still can enjoy the whole movie.
Speaker 1:Yeah, and then we cut to later that night and Carla Jean shows up and breaks down and the sheriffs are Yep, sad, fucking sucks. Plus, we know that now she will die. Yeah, belle meets the local sheriff and talks about how bad everything is now. A local sheriff talks about Mexico and how Anton is comfortable in going back to his own crime scenes. This gives Belle an idea and it's also just kind of like laying more into, you know, like dude, like we're just not cut out for this anymore, like dude like, we're just not cut out for this anymore.
Speaker 1:That night Bell returns to the crime scene, finds the lock blown out in his suspect's familiar style, we see. So this is going to be something for this that we have to talk about. So we see Chigurh. He's hiding behind the door of the motel room observing the shifting light through an empty lock hole. His gun is drawn. Bell enters Moss's room and notices that the vent cover has been removed, the dime and the vent is empty.
Speaker 1:So, like you know, I've seen this a few times. This is the first time I noticed, like the facial, the face in the lock, the lock hole, because it's shiny, you can see, like you know, each other's um like faces in it. Just first time I noticed it. But I don't think sugar is actually there. Then what do you mean? Like I don't? I think that's. Uh, I think this is the first time the movie kind of goes into, not like almost like dream like or like more. I think bell is thinking what if he's behind that door right now and I'm about to kick it open, because when he kicks the door open, nobody's behind that door, you can see, I'm about to kick it open, because when he kicks the door open, nobody's behind that door you can see it. So I think that we've got to look inside Bell's mind for a second. He goes in, he observes everything, he sees the vent and he just kind of sits down. He's like fuck, I'm too late.
Speaker 2:Just like before.
Speaker 1:And that's when he notices he's like I got to retire, I can't do this Well like I'm not cut out for this anymore.
Speaker 2:Well, like the whole, like when you talk about Bell, you can see the thing about when times change. It's different mindset, simpler time, he like, because you have to think, like all these killings that happen If you see, when he talks about it he's like he says I don't know, and they don't like to think about it, because they're like this isn't my world.
Speaker 1:This is not what I think there's like, I'm just gonna be a small town, texas.
Speaker 2:Yeah, like, when you talk to people who, like, don't watch horror movies, like you said, you're desensitized, they're like that. He's just like. I can't like, because when you start to sit there and try and think about that, you mull it and you analyze it, yeah, and you start to understand it and you don't want to because it's not a part of like, it's not a. It destroys your worldview and you see that through the film as he discusses this stuff.
Speaker 1:Yeah, and they do. I didn't put in my notes for some reason, but you have the scene with um uh, what's his name? Um, the little deputy that he has, and he's reading the paper and he talks about the uh, the two older couple. That guy was getting tortured and they like run out into the front of the lawn with the dog collar on and it's getting tortured and they like run out into the front of the lawn with the dog collar on and it's just like. That was another point where it's kind of what you're saying there it's like fuck dude, I can't do this.
Speaker 1:Yeah, I don't like to sit here and think on this, yeah, and the guy laughs and he's like, sometimes I laugh about it too. It's all you can do, retrieved it. And then we cut to bell who visits his uncle, ellis, an ex-lawman. Bell explains, uh, that he's going to retire because he feels overmatched, but ellis points out that the region has always been violent. Um ellis says, like thinking it is all waiting for you, waiting on you, that's vanity. Because he's like um carla jean, shit, there's so much more in that and I didn't put enough in my notes About the scene with them two. Yeah, because he's also talking, because I think there's like a little bit about like because Belle served a little bit and like he like abandoned, like his troop, like in World War II or whatever it might be in the book. I it might be in the book.
Speaker 2:I may be kind of misremembering the two things I know that, like when he's talking to you, said it was his uncle, right? Yeah, he's talking about how I missed a big portion of that scene where he was his monologue, where he was talking about dude came out on the porch, got shot and he died right there and she knew it was coming, type of thing. Yeah, you know what's coming. I I wish I had time to go back and do this.
Speaker 1:Yeah, because they're talking about Uncle Ellis's uncle, so it's like an even older man and he just like, oh yeah, because they had like the Indians out of his house and like I guess he took something from him and they just shot him dead there. So it was like that. And then by the time the wife came out they were all gone and it's like it's always happened. Yeah, it's something, yeah, something's always, we've all been killing each other for something. Yes, it's it's there.
Speaker 2:You just you have like you try and think of, like he's not cut out for it anymore because he's like you don't have that world view that you should have yeah, you just don't want it yeah, exactly so then we cut to Carla Jean.
Speaker 1:she's returning home from her mother's funeral his mother was suffering from the cancer to find Sugar waiting in the bedroom. Love it because she realizes like something's off, because she's looking at the window that's open. She's like that wasn't open and then immediately goes in the door and he's sitting there. When she tells him she does not have the money, he recalls the pledge that he made to her husband that could have spared her.
Speaker 1:So he chose that more than you. It's like, oh, I'm doing this because of your husband. It's like he wouldn't want you to do this.
Speaker 2:Yeah, he's sticking the knife in. It's like he. It's his fault. You're dying because of him.
Speaker 1:Yeah. And then she says you don't have to do this. It's like you all say the same thing.
Speaker 1:It's always that it, when it comes down to it, it's this yeah and then, um, he says the best he will offer carla is a coin toss for a life. But she says that the choice is still his. Um, then we cut to the front of the house sugar leaves and we're like, did he do it, did he not do it? Then he checks his boots damn, um so. And then he drives away. And then, as he's driving, it's like a nice quiet little neighborhood. You see some kids and then the next jump scare he gets hit by a car. And I love every movie would have had it where you're pointing the camera on his side. You would have seen him get hit from that angle. But it's like such a scary movie jump scare that it happens from the other side.
Speaker 2:You don't anticipate it, because at this moment, near the end of the movie, it's probably going to cut away or something.
Speaker 1:Then bam Yep Got him and he is injured in the car accident, Abandons the damaged vehicle, he has two teenage boys for the shirts and offers them money. The boy who didn't receive his shirt says half of it is theirs. Like you still got your shirt.
Speaker 2:And he's still like I don't want no money, I'm just helping out, show out, showing like child innocence of like how, before he's like I just want to help, but as soon as they get the money, they're fighting over the money and he's like. You never saw me because it calls back to like uh, what I think bell said he's like, or someone else, somebody he's like, he's like a ghost, yeah, he always wants to be a ghost, yeah, and he just like walks away.
Speaker 1:No one's gonna pay attention to him because they're responding to a car accident, so he's just gotta. He's just kind of in the middle of nowhere, though, so it's like is he going to be able to? I guess he does, because he gives back the money and everything. So now retired Bell shares two dreams with his wife, both involving his deceased father. In the first dream he lost some money that his father had given him, and I think that's all just a dream about what's been going on with the money. And in the second, he and his father were riding horses through a snowy mountain pass. His father, who was carrying fire and a horn, quietly passed by with his head down. He was going on ahead and fixing to make fire In the surrounding dark and cold. Bell knew that when he got there his father would be waiting, and then I woke up Tick, tick, tick.
Speaker 2:Oh dude, I got chills just thinking about it, man like the way that ends it and just like because that's another way, people probably complain because you think after he Moss dies and like the choices at the end could also really affect it. But if you go back and watch it and just Tommy Lee's face and expressions- talking about it.
Speaker 1:He fucking destroys it, Like he's so good.
Speaker 2:It's such like that scene can make you feel empty because you're like whoa.
Speaker 1:Thing is because, like to me, like all that that's saying is that he's coping with the fact that his life is ending. Yeah, essentially he's not. He can't do this anymore. Feels in the dark when he dies his father. Before he talks about like he expect with the Ellis, he's like I expected at some point God to come into my life, but he didn't think. This is him kind of contemplating. It's like well, maybe this will be my afterlife. I get to be there in the dark with my father.
Speaker 2:Maybe he's trying to think of like what's after, because like there's he's starting to see, like maybe he's like, and I don't know this scene.
Speaker 1:Actually it kind of makes me emotional like I get a little sniff.
Speaker 2:I get a little sniffly. That scene got me, but I don't especially.
Speaker 1:You know it's like. You know I had a father pass away, so you know it just kind of hits. And then you got Tommy Lee Jones's like he's so like saying the story.
Speaker 2:You can see he's upset, yeah, and I'm like, ah, it's such a good scene, because I was like, whatever I was doing, I turned back kind of watched it.
Speaker 1:I was like God, I'm like he, just he. It felt like an old man telling a story.
Speaker 2:And you could feel like his heart in that dream and everything.
Speaker 1:And then it's the ticking of the clock. Because it just keeps going, baby, just keeps going. No matter who you are, clock's ticking. That's no country for old men. Let's get into the categories. Hell, yeah. So the first category the good, the bad, the ugly, the fine that's where we discuss the good of the film, the good, the bad of the film, the bad, the ugly something that didn't age well. The fine, something that did age well. I'm just going to let you know I got nothing in bad. I don't either, so we'll start with the good. We're skipping the bad, probably, yeah. So what do you got for the good?
Speaker 2:Just in general. Javier Bodim, the whole, like every actor, nails are spot, even side characters due to the gas station. They do such a good job. Like what, I cannot think. I would be interested to see what other people's complaints are. If it's just their personal choice of like they didn't like certain things with the story or something, but I'm like, what is your complaint? What faults does this movie have? What's an error? You see, what's this and that. Where is it at?
Speaker 1:I think it's the just kind of how the movie like just ends you know not seeing the killer, and then it's just like that's just some fucking monologue with this guy yeah, but that to me like, if you're like that then, but that's like standard, that's like general audiences type of yeah that general audiences probably wouldn't like it.
Speaker 2:I'm like, but if you look past it though, what, what else is the problem? Like?
Speaker 1:I don't think there is any problem with it. Exactly, I mean people can find it, because I was, you know, just kind of went on Reddit to see like some maybe people that might had a problem with it. It's like it is a very slow movie. It doesn't. If you're not into like watching these people seeing what they're doing and like how fun that is, then maybe it's something you're just like. Can you just get to some shooting?
Speaker 2:Yeah, if you're that person. But I'm like if you're going into this movie thinking of something else, it's like that whole thing with people like Joker 2. Like I didn't know it was a musical, I'm like how do you not know about movies? Like it's just one of those people, don't? It's one of those I can't understand because even like not watching, like trailers a lot of trailers, even I knew that was like the big thing before they started production.
Speaker 1:I will say, like, because that was kind they hid that movie as a musical. Oh, I knew it was going to be one. So hard Like they tried their best not to let out that hey, this is a musical. I don't know why most people like musicals. I guess no one just wanted a Mean.
Speaker 2:Girls musical. We tried to watch it.
Speaker 1:LaShawn wanted to watch it. No good, yeah, she didn't. She's like I can't. I was like you, the Coen brothers, but I'm going to leave them a little later. The cinematography yes, roger Deakins, baby, the best to ever do it, it's so good because it all feels so real.
Speaker 1:That's something you know, that's something you could do, you could just like when you're trying to look for a movie, just like. Well, let me just go to like Roger Deak shot, because most of those movies are really good, I always want to do that and I forget, so I'm gonna put his name down skyfall was him. I believe I need to go back and watch that because that movie I'm gonna put it down in my notes.
Speaker 2:I took for this movie, so that way, the best looking movie, I spell his last name d deacons d.
Speaker 1:I'm not gonna spell it on the podcast, um, but yeah, I just think this movie is beautifully shot. It's great, um, but roger deacon, so he does everything.
Speaker 2:It's really good because there's it's one of these movies I'm like where do you find a fault? Where is it at? And you can do that.
Speaker 1:for certain things I didn't like it, but I just like I can see this movie, not being someone's cup of tea, but I guess I could say that.
Speaker 2:To say it's a bad say that this isn't my cup of tea. I would counteract like oh, do you watch serial killer documentaries? Oh, I love them.
Speaker 1:You're watching like psychopathic like, yeah, but they, they just gotta hear that constant noise, this movie's quiet that's what's so good.
Speaker 2:It adds attention because you're in it, you're just like, not anymore.
Speaker 1:Nobody can pay attention to anything.
Speaker 2:Only five seconds a minute we were almost good when we banned it.
Speaker 1:So all right. So we're skipping the bag because we both have nothing. What do you got for the ugly? Something that didn't age. Well, I'll just tell you mine why. You think it's the CGI pronghorn and the CGI like raven or crow.
Speaker 2:Yeah, I guess that would be it.
Speaker 1:But I think the bird looked worse because he has such a close up on it.
Speaker 2:I feel like they just like it's cheaper and quicker just to do these quick scenes and it's uh, it's something. I don't nitpick crazy on that just because I was like I understand it's just first set up for the scene. It's so small it's insignificant to the rest of the movie. Yeah I just have to put it, because the only thing I got- yeah, because I was like, as you said, the ugly, and I'm like this is like a movie that, like you can watch greed greed is ugly money is ugly people.
Speaker 2:Yeah uh, drugs are bad I don't, I can't pick this movie apart. It would have to be something like. Sometimes I do that. I'm like, oh, what would be? Something like I'll go and look see what some people complain about. Like some people were complaining about um super mario brothers movie. Their complaints were like it was. I can't even remember it was so dumb. I was like this is such a like. No, the story's not serious, it's no drama. I'm like it's a Mario Brothers movie. What were you thinking? Going in this deep?
Speaker 1:it's a children's movie, guys.
Speaker 2:I don't they were complaining about stuff. Like I said, your arguments is null and void to one thing child's movie, and some people don't look past it like, well, you could do this and that I'm like you don't you're.
Speaker 1:it's not a Pixar movie, it's an illumination movie. They made Despicable. Me Like calm down guys.
Speaker 2:Watch it for fun, like I don't understand why you have to, like some people, try and nitpick everything. You have a negative thing on certain movies that don't make sense. It's like you went into a different mindset. That doesn't work.
Speaker 1:Yeah, like I mean with a Mario movie, it's like I think it's fine, but like I'm not going to be like they shouldn't have done this. Oh, how could he jump on that mushroom?
Speaker 2:This is a video game.
Speaker 1:They're just not doing anything with the story really pushing it, Though I still don't understand why we always have to have them like in the real world and then go into mushroom just like start to start.
Speaker 2:I don't know. I don't know. I did the same thing with sonic, where he's like dealing with people and I'm like we don't need this. It's the same thing with like transformers why would you nitpick, mario?
Speaker 1:we're both just, yeah, you know, actually, you're right I could see it, but I'm like it doesn't.
Speaker 2:I was like I'm not gonna be upset by it where I'm like let's just put them in the damn Mushroom Kingdom.
Speaker 1:Like why? Because they did it with their live action. One too, I'm like I don't care how they get there, Just put them there.
Speaker 2:Well, I know why they do it because they're like, general audiences are like why are they here? Do we need this and that?
Speaker 1:Imagine playing that NES game. I don't understand the story of this. The princess is in another castle. That's a story, all right. So the finds Something that aged well for you. Me, it's the Coen brothers man. Coen brothers.
Speaker 2:Josh Brolin, brolin, brolin, whatever, javier Bodim still great actors. Anytime Josh Brolin is in anything, it's one of those ones he's in it. It's like this is gonna be a movie I wanna watch just cause of him. It can pull like there's certain actors you watch like I'm gonna watch just cause of them yeah, yeah, it's just, it's kind of a perfect movie and uh my, I guess the my ugly would be like give Javier Bourdain more movies yeah, yeah, just like, especially him playing like an intimidating person.
Speaker 1:That would be great, but they really I mean he kind of, I mean he did Skyfall after this. That was a really good one.
Speaker 2:I feel like he's really good as him he is.
Speaker 1:I just feel like it wasn't used enough properly like well because it kind of comes in like halfway through the movie where he finally meets him and they have like that great, great, like James Bond, the villain explains everything well.
Speaker 2:I guess I kind of want it more like in a Casino Royale where you got more of Mads in it.
Speaker 1:I wanted more exposure like that. Yeah, it was definitely more focused on a Bond in that one. All right, man, we got one more category, it's the double feature. You want me to go first, you know what he?
Speaker 1:is, so I decided to pick it's. I feel like it's a movie that's inspired by no Country for Old Men almost it's called Hell or High Water. It's got Jeff Bridges in it, chris Pine, ben Foster and Foster will make you really nervous in it, and Jeff Bridges gives his classic rah-rah-rah-rah performance. And for anybody out there who's never heard of it and is wondering like is there anybody else, I would know from it. It's the writer, taylor Sheridan, who does all those Yellowstone stuff. But he made, he wrote some really good movies Wind River, hell or High Water, sicario, I think, three Bangers.
Speaker 2:Wind River's not as good grown at Yellowstone, but Yellowstone just suffers from, like someone pointing out, it would have been good for one to two seasons, but then they milked it out for the same story for too long.
Speaker 1:And then now we have two prequel series. All right, bro, what do you got? Sicario, hell, yeah, so two Taylor Sheridan movies. He really is in that bag, though.
Speaker 2:I didn't know it was him, but I enjoyed that movie just because you kind of have a similar. You have Benicio Del Toro's character, who's kind of like a like another version of anton josh brolin's in it yeah, and josh brolin doing his stuff, being a great actor and being that like I don't know how to describe it just someone who knows, seems like he knows his stuff and is confident in what life, like someone who's been through it, type of thing and not his first rodeo, type of thing.
Speaker 1:Yeah, and then just benicio del Toro and his story and his mission that he does towards the end is similar to Anton and like his whole nonchalance for certain things, yeah it works so well and also it's a movie like you see the process of what everybody's doing, like the scene where they're going like through the tunnel and stuff the shootout at the border, the beginning in Arizona when, like, the giant bomb explodes. Daniel Kaluuya he gives like another great sleepy performance.
Speaker 2:And then, like the one scene in Sicario where she comes up and says put the gun down, he immediately shoots her and says don't point your gun at me ever again.
Speaker 1:Yeah.
Speaker 2:And just tosses her gun back.
Speaker 1:Man and the Jon Bernthal scene. Mm-hmm.
Speaker 2:Bro, that was really good too. I was like, oh, I didn't know he was in this. And I was like, oh, this is so good, Sicario's so good. That's why I was like this, because when you said we got a double feature.
Speaker 1:I was like I can't think of anything. He's like oh no, I love Sicario, I'll think about it, I'll see what the weekend's going to end up being. All right, that's no Country for Old Men. Baby Got two great recommendations. Damn, that'd be a hell of a triple feature. I would say probably start with no Country for Old Men and then, just because if you start getting tired watching movies, the other ones are kind of a little more action. So start with no Country for Old Men and then the other ones.
Speaker 1:Sicario in between, and then do Hell or High Water maybe Hell or High Water is more of a popcorn type of movie. Oh, that movie's so good too. But, yeah, thanks for joining us. Hey, me and Jason here cutting in in the middle of this episode because he wasn't here doing it. I wasn't, I was dying of illness and we didn't know what movie we were going to do yet because I. So we're interrupting this episode to tell you what we're doing. Children of men. Yay, we just finished wrapping it. Great episode, A lot of great conversation. So, yeah, you have to join us for it Feel like steamy, wet babies, yeah, and if you dislike maybe one of the best movies over the past 50 years then you've got to check it out and find out what the movie is about. And are there any religious like metaphors in this? I don't know. Well you'll. Does it feel like it's?
Speaker 1:happening, tell me does it feel like it's happening now? We don't know, but join us and we'll discuss it so join us next week for that, no worries, bye. So yeah, make sure you come back to see it, that movie, or listen to us discuss that movie next week. And, if you have, if you want to leave us any fan mail, just go into our description. At the top there's a link you can click and you can just text us from your phone. What you want to talk about with us or movie recommendation.
Speaker 2:Tell us why you think this movie isn't good.
Speaker 1:Yeah, and then I'll find you. And then at the bottom of the description we also have our email. If you just want to email us at, we recommend mailbag at gmailcom. I would like, oh, also leave us some reviews. Tell us how you think Dakota does as a guest on here.
Speaker 2:And the reason why. I don't know if Jesse mentioned it, but Jason's sick. This is the only reason it was supposed to be all three of us, this one he couldn't do because, oh well, that's right he had a doctor's appointment with the wife and we've tried to do no Country for Old Men.
Speaker 1:This is our third time trying to do it. Third, yeah, because we did it once, didn't record. Then we were trying to do it that one weekend but it snowed and I was like and now, finally, now we did it. Men in Black was the exact same way, so it's two straight movies we've struggled with so much. Tommy Lee Jones has cursed us but, yeah, jason can join us, but he'll be back next week hopefully. But yeah, I want to thank Joey Prosser for intro and outro music. You can find him on X at Mr Joey Prosser. And yeah, I guess that's it. This has been the we Recommend Podcast. I'm Jesse, I'm Dakota. If the one rule you followed led you to this podcast, what was the point of the podcast? I don't know. Bye, bye.
