Movie RX
Dr. Benjamin prescribes movies that help and heal through his own experiences or the experiences of others.
Movie RX
Boondock Saints (1999) ft Derrick
What happens when good men can no longer tolerate the failures of justice? This question lies at the heart of Boondock Saints, Troy Duffy's controversial 1999 vigilante thriller that found its audience despite a troubled production and near-invisible theatrical release.
When Irish-American brothers Connor and Murphy MacManus survive an encounter with Russian mobsters, they interpret their deliverance as a divine calling to cleanse Boston of evil men. Armed with religious conviction and an expanding arsenal, the brothers embark on a righteous crusade that captivates the city and confounds the brilliant but eccentric FBI Agent Smecker (Willem Dafoe). As their friend Rocco joins their mission, the trio leaves a trail of dead criminals while forcing everyone around them to confront uncomfortable questions about justice and morality.
The film's journey to cult status is almost as legendary as its content. Written by Duffy while working as a bartender and bouncer, the screenplay lost its Miramax backing before finding independent financing. Its release coinciding with Columbine resulted in it appearing in just five theaters nationwide, earning a mere $30,000 on its $6 million budget. Yet through word-of-mouth and DVD sales, Boondock Saints found its devoted audience and became a St. Patrick's Day viewing tradition.
While some aspects haven't aged perfectly – particularly certain language choices reflecting its late-90s origins – the film's central theme about the responsibility to stand against evil remains profoundly relevant. As one character memorably states, there is another kind of evil beyond violence: "the indifference of good men" who stand by while injustice occurs. This message continues to resonate with viewers grappling with when intervention becomes necessary in an imperfect world.
How far would you go to fight evil in your community? Does our justice system's failure justify taking matters into your own hands? Boondock Saints doesn't provide easy answers, but twenty-five years later, it still forces us to ask the right questions.
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Hello and welcome to MovieRx, where I prescribe entertainment one movie at a time. I am your host, dr Benjamin, and today I have a co-host joining me, none other than a fan favorite, derek. Welcome Derek. Hello, derek, today I think we're looking at a movie that is kind of I'm betting I'm going to go out on a limb here. This is probably a yearly watch for both of us.
Speaker 2:Yeah.
Speaker 1:Okay, so this is, and one of my intentions with this is being that you know this is being released right before St Paddy's Day. Is that maybe kind of a a tradition for others as well? Uh, today we're going to talk about boondock saints. Um, and my God, this movie there is so much to talk about. Uh, where, where did uh, where did you first see, uh, anything about this movie?
Speaker 2:Uh, so yeah, um, probably the first time I ever, probably the first time I ever saw.
Speaker 2:It was also the first time I ever heard of it, and it would have been like a million years ago back in Kearney, I'm going to guess probably 2004, if I remember correctly. You know, there were a couple of guys that we knew, you know, Rick and Jason. They used to live in an apartment that was below us in this crappy old house we lived in and they were like, hey, you guys got to check out this movie. It's got Irish guys in it and of course they're looking at me as the token Irish guy and, like you'll love it.
Speaker 1:You probably know the guys that are in it.
Speaker 2:And so yeah, we got drunk in a basement, watched it the first time and all of us had the uh, the uh. All of us had the.
Speaker 2:The same response as the people in the movie when the cat scene happened and uh and it was, uh, yeah, it was at that point where it's like, uh, yeah, no, I'm, I'm fucking totally watching this again over and over and over and over. Um, like they, they had me as soon as you know, willem defoe walked in and I was like that's fucking go Goliath. You know, that's fucking Elias, I'm in Right, like I'm absolutely watching this. I'm totally yeah.
Speaker 1:Yeah, for me it was pretty similar. It was right around the same time, probably around the 2003, 2004 area. There was another guy that worked at Perkins. Do you remember Aaron? We used to call him fred. Uh, that sounds familiar. Yeah, he was. He was a server, just a strange, just kind of a strange guy. He was funnier than hell, the kind of the kind of guy that would that goes and quits, quits his career in college to go work at walmart so that he can get more material to be a stand-up comic. I mean, he's just that kind of guy, yeah, yeah yeah yeah, super, super funny guy.
Speaker 1:Well, he, he showed me this movie, uh, right around that time and, uh, man, if, if I wasn't, if if I didn't have some sense of pride in the irish half that I have before this movie, I was fucking river dancing after I saw it the first time, like I mean, it was just it. It hit so, so deeply that it was just like, fuck, yeah, man, this was, this was just a great movie. Um, now, uh, some of the basic info on it. Released in 1999 rated r. This is not a family friendly movie for all of my visitors. Like, do not play this for your small children. Um, my dad was totally cool and he would have had us watching it like you know, 10 or whatever. Uh, this, this would have been a dad and Ben movie, but, uh, except nobody knew about it.
Speaker 1:So, um, written and directed by Troy Duffy, this was pretty well his breakout, shit, wasn't it?
Speaker 2:Yeah, he was a bartender and a bouncer. He was not a screenwriter.
Speaker 1:Yeah, and this was what he made. It was perfect. Stars Willem Dafoe, sean Patrick Flannery, norman Reedus they don't have them listed on the poster, but Bill Connolly, I feel like needs to be mentioned Right, and of all people, johnson Johnson was in this movie. You know, ron Jeremy, yeah, why, I don't know know, but that's okay, it, it was still. It was still just fucking hilarious to see him in that movie.
Speaker 1:Um, now I'm something else I'm going to kind of change up in season two is I'm not going to do, uh, I'm not going to do imdb or netflix or anything like that. I'm not going to do their descriptions, I'm just going to give kind of a brief synopsis of the movie. So what would be the best way to describe this? It's two Irish brothers that get kind of into an extraordinary situation. They have some kind of epiphany from God, uh, that they need to cleanse Boston of evil and this follows them in that path. And there, uh, they pull on a buddy that's, uh, a part of the, uh, that's a part of the Italian mob. Uh, they're, they're going after russians and italians and all this other stuff.
Speaker 2:uh, I mean, I guess that's really pretty much it, right I'd say that's pretty much the short and skinny of it, yeah yeah, they just that's just kind of kind of how they handle it a couple of irish guys you know, fuck you their way into uh being vigilantes right and the irish way which I mean.
Speaker 1:Oh man.
Speaker 2:I mean, that is the Irish ways. Fuck you.
Speaker 1:Right, the um that that room uh after after their first rollover, and then they take the, they take the guns and the and the money that they get off the guys and they take uh and they take them into that. That it looks okay.
Speaker 2:It looks like an IRA oh yeah, it was pretty much like an IRA armory hold.
Speaker 1:Take your pick, go for it and he just tosses them both a duffel bag and says knock yourselves out. It's great. You know something interesting about that. That music during that sounds. It sounds a little bit like you know something interesting about that. That music during that sounds. It sounds a little bit like happiness is a warm gun. Yeah, I was thinking like doo-wop, earth angel kind of stuff is what I was thinking Well, you know, they wanted to use happiness as a warm gun for that scene. Yeah, they couldn't fucking afford it.
Speaker 1:It was $17 million they wanted for 30 seconds of that song.
Speaker 2:Yeah, there were. Can you believe that Duffy talks about like several examples of like songs that he wanted in the movie and, yeah, like every one of them was in the neighborhood of like $20 million a song. He's like fuck you, I'm a bartender trying to get a movie made.
Speaker 1:Man, kiss my ass yeah, we don't have that kind of budget, right? Yeah, and he ended up, wasn't it his band that ended up doing most of the music?
Speaker 2:uh, his band did at least like three or four songs, yeah yeah, like at least a bunch of it.
Speaker 1:yeah, um, which I mean? So why don't, why don't we start there with this movie? The music Opening up this movie just gives you, it just tells you how this movie is going to be, with that Irish jig going, you know. I mean it's got the whistle, it's got what's that called the instrument that's like, it's like a bagpipe, but without the drones.
Speaker 2:You're talking about the Yulian pipe.
Speaker 1:Yeah, that's right, I couldn't remember the name, but I mean, it's just, it's so beautiful. And then, of course, like you've, you've got this great music that you're just starting off, you know, with all with this really good, you know, uh, panning scenery and all of that stuff, and then somebody gets hit in the face with a steak and it just kind of sets the precedent for what the movie is going to be. And yeah, and and beat with tongues, as my producer pointed out, the you know I am who is the master, you know. So I mean the really this, this movie starts off with just a lot of fun.
Speaker 2:it starts out like really kind of like, kind of light-hearted, uh, you know, jovial, it's like two brothers fucking around in a meat packing plant. Uh, you know you've got the. Uh, you got the, the chick with the, the rule of thumb, uh, you know like that, that whole scene going on uh, and then like it goes into like them at you know St Patty's day, you know at like their, their favorite pub. You know, like I mean it. Just it starts out very, almost innocent and then it takes a left turn, real fucking quick.
Speaker 1:Right and and well, I mean cause they go to the bar. It's St Patty's day. Like everybody's Irish on St Patty's day, they're at the bar, they're drinking. They got their Irish buddy there or their Italian buddy there. Russians come in, they bought the block and they're closing the bar. And they're closing an Irish bar on St Paddy's Day.
Speaker 2:In an Irish neighborhood.
Speaker 1:In an Irish neighborhood. Tell me that that's not looking for some shit to happen. Like you're going into an Irish bar and irishmen they can't drink on on saint patty's day, like you're. You're all, you're intentionally trying to start some shit at that point. Uh, and they do, and they light a guy's ass on fire and and they they like, really make a big deal out of uh, uh, uh, you know how his his joke about Chekhov. You know this. Here's McCoy, find us a spot. We've gotten away. Team yes, just great. Um, star Trek reference there. I love that. Um, now it was. I'm trying to remember. Was this the movie that had a bunch of deleted scenes that involved their mom?
Speaker 2:Yes, yeah, there was a bunch of deleted scenes with their mom in it where their mom was going to explain some things in there, and, yeah, they got rid of the whole thing, which is unfortunate because there was a really good back and like which, which twin was the older twin or whatever right now.
Speaker 1:So something I kind of want to, I kind of want to broach on, is some there's so many crazy facts about this movie.
Speaker 2:Oh yeah, I mean, yeah, this, this whole thing's just like this was a saga in and of itself, like just the production of the fucking movie was, uh was just its own saga, let alone the actual movie.
Speaker 1:Right, Well, it's release. It's release was just weeks after Columbine Correct Uh, which was April 20th of uh 2000, 2000. Right, and you know. So, a couple of weeks after that this movie was supposed to be released and they canned it. It was released in five theaters nationwide. Five, five theaters, like seriously. So they spent $6 million to make this movie and their return was $30,000. Like I mean, it was almost 31, but seriously, $31,000 out of 6 million that they spent to make it.
Speaker 2:There was a lot of shit. I mean, like up until before they even got to the release. There was a lot of stuff involved where, like you know, like Troy Duffy wrote this, as you know, like in the in the background, while he was working as a bartender and a bouncer. You know he was working in bars around Boston and working on this fucking script that was loosely based off of shit that he saw while he was at work or in his own neighborhood or whatever. And then, because he had friends in the movie business, it somehow wound up getting into Miramax and Miramax was like, yeah, no, we love this, we'll give you a shitload of money.
Speaker 2:And uh, and then duffy's got kind of a reputation of being a dick and he pissed off so many fucking people that were interested in the movie. Uh, got into arguments like stupid arguments with like potential actors that were going to be in the movie and it got to a point where miramax was like, all right, fine, fuck you, we're not going to give you our money anymore. You've pissed off too many people, too many actors, we're not going to give you anything, we're just, we're done, we're out. So he had to find like somebody else to uh, you know, to like take his shit and uh fund the movie, and he wound up finding this dinky little production company I can't remember the name of them right off the top of my head right now Found some dinky ass little company that gave him the six million and then, by just like a wing and a prayer, he was able to actually get this thing made. So it was like by the grace of God he even got the damn movie made in the first fucking place.
Speaker 2:And then it comes out like right around the same time period as columbine. Uh you know when, when that whole thing uh went down, it wound up wound up being like right around that same time period, and I mean there were so many things that came out in that time period that just got squashed because of, uh, those those two dipshits in colorado, and he wound up being one of them yeah, well, and, and it was the, uh, I I kind of, I kind of get it like I understand that that people wanted to, people wanted to to have some kind of reverence or acknowledgement or something of of what happened there.
Speaker 1:Um, but I mean, even even to this day, uh, with the things surrounding Columbine, we're still talking about the wrong things, right, you know as far as, as far as how that that stuff all played out, but I mean, marilyn Manson canceled a show. Actually canceled his whole tour.
Speaker 2:Canceled? Yeah, canceled a whole tour. If I remember correctly, it impacted sales of one of his albums. Actually, canceled his whole tour. Canceled a whole tour, if I remember correctly, it impacted sales of one of his albums. I don't think it was Hollywood, I think it was the second of the Antichrist trilogy. If I remember right, mechanical Animals, I think would have taken a hit out of that. There were movies that got canceled, that were going to come out. There were movies that were impacted that had already been out.
Speaker 2:Uh, you know kind of a thing and I mean, yeah, like you said, I get it, but I mean it was a big uh over correction, uh, in terms of trying to deal, deal with and stem out violence, right, you know, and but, and yeah, yeah, I'm gonna get on a whole fucking tirade about that, right, but uh, you know, yeah, it was just, it was, uh, it was certain people trying to be like, oh shit, but yeah, I'm going to get on a whole fucking tirade about that Right.
Speaker 2:But you know, yeah, it was just it was. It was certain people trying to be like, oh shit, ok, yeah, we got to do something about, about violence and like that. That's not what caused this. Like this is the. You know, this is the same old argument that we had back in the 90s about violent video games, violent movies or angry music is not why those two dipshits walked into a school and shot the place up right.
Speaker 1:And and it's well, and it's been notorious since then that we, that we still turn a blind eye to the things that do cause these things of course, because you know the the like what we would actually have to change that causes this kind of shit, uh would require actual work, yeah well, it would require work and it would also require you know making making things accessible, right, aren't that? Aren't particularly right now um, goddamn commie socialist.
Speaker 2:Oh, you want to be available to people. Pull yourself up by your bootstraps. Yeah, pull yourself up by your bootstraps no, it's rub some dirt in it.
Speaker 1:Yeah, yeah, that's another one no, the I I do.
Speaker 1:I do remember. I remember the day of the columbine shooting I did when I went home and I saw my mom like my mom was sitting in the living room. When I got home I walked in, uh, she gave me a hug and and then then we sat down and watched the news for pretty much the rest of the evening and the thing, the thing that I remember most was, um, the thing that I remember most was how everything else had everything to do with why we have these people with compulsions to do violent things in places with large amounts of people. And, yes, it was video games, it was movies, it was rock and roll.
Speaker 1:We're blaming musicians. Uh, I don't, I don't know about you, but I don't know that I would have survived high school without some of the angry white boy music that I listened to going through high school, like, um, I, I just I mean that was that was part of the reason why. Reason why, why I was able to thrive was was some of those, those violent outlets that I didn't have to be violent for because somebody else was already being violent for me, right, whether it was in music or video games or whatever.
Speaker 2:So it's all an act of catharsis, right? Catharsis, right, you know it's. Uh, you know, like, when you're, when you're looking at it in that, in that view, yeah, it's all. Just, you know cathartic experience at that point of what you're, what you're trying to go through, you know. So, if you've got, like you know, screamy angry music, you know you're, if you are somebody that's going through some shit, you're able to relate to that and you punch the fuck out of your steering wheel instead of, you know, keeping that bottled up inside until it decides it's going to erupt, and then you punch the fuck out of somebody in, you know, the hallway of your school.
Speaker 1:Right, yeah, or with whatever you have at hand yeah, right, yeah. I don't know this. And it's really funny how, how, like? Because, like now we're talking, we're talking about something that's socio-political, uh, on a movie podcast, and and the reason why I want to stop and point that out is because, like, this is part of the reason why this was so important for so many people was because this, this movie, was associated with something that was that was really something that affected a lot of people my age, Even before, even before Columbine happened okay, if Columbine hadn't happened at all in this movie came out.
Speaker 2:This movie would have still been just as impactful as it was because of the, because of the subject matter. You know where it's talking about. You know these, these two guys that are tired of the the law failing, uh, you know the the law that's supposed to be taking care of criminals and supposed to be protecting innocent people and it's failing on a continuous basis, to where they finally go. You know what fuck it. We're gonna solve the problem ourselves.
Speaker 2:That was, uh, you know, yeah, that had a lot of impact and said a lot of things to a lot of people back at 25 years ago and, unfortunately, because we don't fucking learn from our mistakes in this place, um, it's still just as uh, you know, just as uh timely now as it was 25 years ago. You know, I mean, uh, there, there, there might have been a thing about this that went down with, you know, some, uh, health insurance people, uh, a while back, that, you know, may have been just in line with this same kind of same kind of thing, not to completely bring, you know, uh, political turmoil into this, uh, into this podcast well, and and really I don don't.
Speaker 1:I think it was with my sister. I told her I don't mind political stuff in my podcast. I just I just prefer that it not be hateful to get a very like choose a side right.
Speaker 2:You know we're not. We're not in an environment that has, you know, intelligent discourse when it comes to you know, one side versus the other, it's. You know you're either with me or you're against me.
Speaker 1:Right, which is a very unfortunate thing. Yeah, that it's, which is actually really different from prior to this movie coming out. Oh yeah, uh, prior to this movie coming out, uh, oh yeah, the the 90s was, it was very, it was a very different time politically, like it wasn't so divisive.
Speaker 2:Uh, yeah, I mean it, it was, and I think you know part of why it wasn't as uh divisive as it as it might have seemed to be. Sometimes I wonder, if we look back at things like the 90s or the early 2000s, you know, like pre 9-11, uh, you know, if we look back at that shit with, like, graduation goggles to a certain extent, uh, but it was because you didn't have.
Speaker 2:So you didn't have things like social media right. You know, like the people that would have been so extreme on either side, they didn't have a platform, uh, you had. You know, if you wanted to talk to somebody that was, you know, a far right extremist, you had to go to like a gun show in Council Bluffs and find like the right table that was in the back corner and then you might be able to like find the right guy in hushed tones, left side. Um, that was the guy named rod, also known as guy on couch, that had smoked himself. You know stupid, uh, and would sit there, you know, stoned out of his mind, and tell you all sorts of just weird ass conspiracy theories that weren't even remotely true right and well, I mean it so much of like the, like the conservative end of Like there was.
Speaker 1:There were so many different outlets, uh like that were, that were national. You know, you had the Rush Limbaugh's, you had the Sean Hannity's, you had the. You know, I don't think Tucker Carlson was really a thing yet, but uh, you know, I mean you had those, you had those commentaries, um, on your radio, on your television. You know, know, in your email blasts before email blasts were a thing, you know all of these different things and and the left didn't really have that, they had Comedy Central, which was pretty much it.
Speaker 2:We had Comedy Central, but we also had, like, the arts in general pretty much it. Um, we had comedy central but we also had, like, the arts in general. You know, uh, any, anybody that tries to say, you know, get, get, get politics out of your art. You know, stop being political in your music, stop being political in your, your movies. I'm art is political, you know. I mean, there's no way around it, it's going to be.
Speaker 1:Of course, a lot of the people that say you know, get politics out of your art, are usually the right wing people, and a lot of those are metal guys, and I don't know if you've noticed anything about a lot of metal these days, but there's a lot of metal guys that are doing a lot of like super patriotic type music and stuff like that.
Speaker 2:I'm actually going to really go against that.
Speaker 2:Uh, you know I'm gonna yeah, I'm gonna have to seriously disagree on that one. Um, a lot of, uh, you know like no, actually a lot of a lot of metal guys, uh, you know we're a lot of us are actually, you know, pretty, pretty liberal or pretty centrist, uh, you know, or like just left of center, like cory taylor, I'll tell you, you know, he's just left of center. Um, and you know, and it's it's because a lot of them, I mean, they are there to be in that particular genre.
Speaker 2:Metal is more than just a style of music. It's also like a, a cultural, like subculture, you know kind of a thing. Uh, we have our, we have our own people, we've got our own language. You know kind of a kind of a thing, right, and a lot of us come from like fucked up situations and broken homes and you know, like we didn't fit in. We were the weird kid in class, we were probably somebody that needed mental health care, that couldn't afford to have mental health care, because everything comes with a fucking price tag, right.
Speaker 2:So empathy winds up being a big thing and it's it's something that a lot, of, a lot of metalheads have. Uh, you know, a lot, of, a lot of people in the, uh, the, the metal genre, the metal world, however you want to put it. Um, they, they have a lot of empathy, they have a lot of understanding towards the, the, the freaks of the world, the people that don't quite fit in, uh, so no, you don't really have a whole lot of that conservative shit now. The guys that are playing that patriot card, uh, like the other, uh, you know the, the fucking the five finger, you know dick punch.
Speaker 1:Uh, you know guys of the world, um, five finger, donkey punch uh, you know, I guess mainstream, a lot of the mainstream guys are kind of doing that and that's some of those guys, but you know a lot of that is just it's.
Speaker 2:It's either performative nonsense or those are guys that are hedging their bets because they they know who's, they know who's going to pay them, or they know where they're going to be, touring a large, you know, in a large population. So, if you've got, you know, some of these guys were like, they know they pretty much live and die inside of the Midwest right and you know, they they rely on, like the state fair circuit to be able to get them in. Um, yeah, they're going to be, um, they're going to be doing Panama, right, you know they're, they're fucking, uh, they're uh, talking down or, you know, however the hell you want to put it, uh, they're, they're pacifying conservative types that live in those areas because they know they're going to buy tickets and they're going to come to their fucking show when they're coming through. You know, bumfuck nebraska. And they need to make sure that they've got 20 000 people, uh, you know, at that, uh, at that arena to justify their gas price before they can get out and back out to the coast fair enough.
Speaker 1:Yeah, see, and, and I just you get some, I guess the reason why it feels that way is because a lot of the, a lot of the people like like I was telling you about that got me through high school. A lot of those angry white boy bands have kind of gone that way now and maybe it's because that's the only, that's the only place that they're getting the getting the attention is that those, those county fairs and things like that?
Speaker 2:The other side of it, though, is where you get some of those guys where you know they've, they've, they've changed colors. If you will, yeah, it's. It's because you know like when you're, when you're young and you don't have a whole lot to have to worry about, you might be able to rage against the machine all you want, but then you get into your forties and you're like fuck, dude, the machine's pretty comfortable.
Speaker 1:Fair enough yeah.
Speaker 2:And you know, yeah, you see, like a lot of like the, uh the, the old, like eighties, uh, you know the eighties, uh, like hair metal guys, where they're coming out, yeah, they're there. Some of them are pretty fucking conservative, but it's because they're also like 60 and uh, you know they're, you know they're falling into the rhetoric and they're seeing the bullshit and they're like ah, yeah, brown people are the fucking problem. It's like dude, you like, if you go to your shows, shut the fuck up.
Speaker 1:Like you need those people shut up.
Speaker 2:You know it's like the line out of batman, you know you, you'll live long enough to become the villain live long enough to become the villain.
Speaker 1:That's, uh, I, I really don't want to live that long. Um, my, my producer is poking fun at me, okay so.
Speaker 2:I think we're in the movie somewhere.
Speaker 1:I think we're yeah, we got away from the movie just a hair Playing distractible here for a second. So yeah, you know what? This is actually a really good time to just kind of talk about some of your favorite scenes. I'll go first the moment when Smeker comes in and he puts the headphones on and he starts listening, listening to that operetta and and and going around and looking for bullet holes and checking underneath the guys and everything and he's like dancing around as he's doing it and yeah, that that drew me into the movie, like all and everything up to that point had given me a good laugh and everything but. But smekker's just out of this worldness, completely unbelievable character. But he made it believable why? Because it's willem fucking defoe. So this, this, this unrealistic character made real by willem defoe, uh, really drew me in on this movie. And that, that first scene where he's, where he's walking around, look and and when he's busting that detective's chops. What's his name?
Speaker 1:greenlee greenlee yes yeah, when he's, when he's busting greenlee's chops over, you know sweet and low.
Speaker 2:So yeah, I really loved that opening scene, especially with smeker doing the doing the stuff yeah, that really set the uh, you know, that definitely set the pace for uh, you know, yeah, uh, you know, willem dafoe and then the? Uh, the three stooges from boston pd yeah, that's who the fuck I am yeah it was a good scene.
Speaker 1:Um what about yours?
Speaker 2:um, I mean, I've definitely got a lot, um, I, I, some of them are going to be, you know, pretty, pretty fucking obvious, right, uh, right, but I mean definitely just the, the banter back and forth between, uh, connor and murph. You know, like the, the way that those two actually like really sold it that they were brothers of some sort, and I mean the. The two best examples are probably the argument about the rope, you know, when they're, when they're getting the weapons right, and it was oh you're stupid fucking rope.
Speaker 2:You know charlie brownson's always got that shit. Why not?
Speaker 1:oh, is that soul ramble?
Speaker 2:knife out of the other, you know out of the dude's bag like that was, that was definitely a favorite.
Speaker 2:Or when they're bitching at each other in the fucking uh, when they're in the other the air grate, uh, trying to drop in on the russians, and they're, you know, like the one dude's bitching about the fucking rope and they get into a fist fight in this goddamned air duct. They get into a goddamn fist fight and and then, like, they wind up falling and dropping into the hotel room and all hell breaks loose. But just the fact that you'd like the zero, like in, like not even realizing or giving a shit of like where you are or how it's appropriate or anything along those lines. You're just busting each other's balls and it's just that that brotherly, like I'm going to beat the shit out of you right now because you're being a dick.
Speaker 1:Right, well, and, and that was that was the first moment that it that it really started to feel like they really were brothers. Yes Cause, like up to that point they got along pretty good, right, like, and and I mean, I don't, I don't know what, what your sibling situation is? I, I have sisters, uh, but my sister and I, like, we appeared to everybody else Like we got along great, but at home it was world war, fucking 12.
Speaker 2:Like.
Speaker 1:I mean, we fought the next, we fought the next 10 world wars in our home and it was uh, but we never showed anybody. Nobody ever saw that. Nobody ever saw that side of us outside of the home. So, um, but this, but this was a moment where they were stuck in this, in this air vent, and then it was just like you know what I'm, I'm sick of your shit, I'm going to fucking, I'm going to beat your ass. And then they start fighting. It's great. And then, you know, of course, that leads into one of my favorite scenes, when they bust through the ceiling and they spin around and then they shoot everybody, all the Russians, yep.
Speaker 1:But then in comes Smeker with the rest of Boston PD and, oh my God, that scene where he's walking around the room and he's and he's trying to pull things from the different detectives, trying to get them to help him figure out this situation. Like he's already got it figured out. He just wants them to figure it out and and and try to figure out what's. What's going on here as he's walking around the room and figuring there's. So that tells us what. He was shot at a downward angle, which says he was on his knees. Ah, good, greenlee. What else does it tell us? He was shot at a downward angle he's like you fucking guys.
Speaker 2:Um, my, my favorite out of that, you know, out of that whole, uh, that particular scene, is when he's uh, I think it's duffy that he's talking to, where he's like you know, do you have a, do you have a theory to go with that tie? And uh, you know, and he's like you know what? Fuck all these other guys, this was their main target. They were after the fag man and you know, and everybody, everybody has that, oh shit. And they're like wait, what the fuck did? You just say he was fat man. I totally said fat man and that's where you know.
Speaker 2:And and he goes ah, freud was right, you're talking specifically about freudian slip and like, oh fuck all the nerds actually understood that right.
Speaker 1:Yep, no, that was good, um, I mean, and oh that that brings up something else. That's kind of from this, from this movie, that as a general thing with this movie, some of it doesn't fly well in society today as far as, like some of the terminology used.
Speaker 2:There are certain terms that did not age.
Speaker 2:Yeah, they're not coming up with the modern day very well no, yeah, they're not coming up with the modern day very well, no, as an example, Fagman Anytime, Willem Dafoe, who is playing, you know he was toxically masculine Right and he was self-hating as a you know, as a gay character, regardless of how flamboyant he was throughout the whole movie. And so, yeah, anytime, anytime he interacted with not just not just interacting with gay people, but anytime he interacted with somebody that was like stereotypically gay that's. That's when, like the, the bad parts came out.
Speaker 1:Um, you know the the cuddling thing that that scene I I'm not going to lie back in in 2003, 2004, whenever it was when I saw this that that scene had me fucking rolling now not as much, but it's you can still acknowledge it as still a little bit of a smile.
Speaker 2:Yeah, you can still acknowledge it as funny, just you just don't need to say it, right, you know?
Speaker 1:it still has the same effect.
Speaker 2:You just don't need to use the same words. Things are, you know, things are still allowed to be funny, uh, you know, and it it's still allowed to have the same impact. You know, like it wasn't just in the last 20 years that that particular word, you know, became bad. It was bad back then too. To call somebody, you know, to call somebody a, you know that particular phrase I'm not going to say it here any more than I already have, but you know, like to use that particular phrase was considered to be bad even 20 years ago. Uh, you know that, that you said something like that and that was the point of why he used those particular terms. So you can still laugh at it and you can still understand. You know the the point that he's trying to make, because it still fits 20 years later yeah, it's I don't know.
Speaker 1:I think that with, I think I think really a lot of it also has to do with with who it is at that time, because that was still like in in the early 2000s.
Speaker 1:That was still when it was.
Speaker 1:It was kind of before don't say, don't say gay, like you know, the don't say gay, like you know, the don't say gay thing, the, the, uh, that that kind of movement, um, and that was still when.
Speaker 1:I guess really the only way to put it is uh, when, when people hadn't figured out that it still wasn't okay that when they'd say I don't, when I say fag, I don't mean a gay person, or when I say a queer, I don't mean a gay person, or when I say a queer, I don't mean a gay person, you know, like the when, when that was still the argument, like like I, I always remember, like the old george carlin quote, you know the the old george carlin bit from like his way back days, uh, I think this would have probably been like the 70s, yeah, where uh, where he was talking about, you know, growing up in the 50s in, uh, new york, and it was, uh, you know, fag was just like, fag was just like a weirdo right, or he was just like the other, you know, or the, the sissy in the group, or the guy that was being a pain in the ass.
Speaker 2:Oh, you know the. You know fags going home, he's going home, uh, you know kind of a kind of a thing guys busting out early, whereas if they were going to talk about a gay person that was queer. You know, like somebody, you know if somebody was gay he was a queer, that was when they would. They would go off of that. But I mean those, those colloquials change over time and, uh, you know, it became a lot more obviously that particular word was more synonymous with being derogatory towards gay people.
Speaker 1:Well, and I think that's, I think that's also an important thing to note is that, like language does evolve? Yeah, like sometimes.
Speaker 2:Words matter.
Speaker 1:Right. Like sometimes I get kind of frustrated because, like another modern one that you get a lot of hate for is retarded If you're using it about a person like that's just that's not nice. That you get a lot of hate for is retarded If you're using it about a person like that's just that's not nice, like you're hurting somebody.
Speaker 2:Which is the point, yeah you know, like, if you're using that term, you're not trying to be complimentary.
Speaker 1:But if I'm talking about how the toaster that I have downstairs is retarded because the four mark does not mean four minutes, it means like something like between a minute and a half and a minute and 45 seconds, it's not advanced and so, like I'd constantly make that argument, but I mean there's, there's still the, the people that insist that it's still just not a good word.
Speaker 2:You got to, you got to always consider context. You know, context is always the the thing that's most important when you're talking about words, but context doesn't scale. Context works when you're in small conversations or in small groups. The moment that you're talking to a large group of people or something that winds up being national, context is not a thing. Context goes right out the fucking window.
Speaker 1:Yeah, window, yeah, the. I mean the example that I would give for how you know context it matters with a large group of people is you know, if somebody's running for president and they say something like that, then you know that would be the end of their career. But that's not a fucking thing anymore. You can say anything you fucking want and you can be president now. So, hey, maybe we should run on the next ticket, okay, so my producer just chimed in with a story.
Speaker 1:She used to work at a facility that worked with individuals with intellectual disabilities and how the staff had gone to a conference at one point and somebody at this conference, speaking to a large group of people in the industry, had used had used the word retarded. In in that kind of a context it's bad. Like you just don't, you don't do that because because in in that environment it's a hurtful word and it's intentionally hurtful in that. You know, in that environment it's a hurtful word and it's intentionally hurtful in that regard. And I feel like that's kind of a thing with a lot of the terminology and words and things like that that are used in this movie Period. I mean, they use racial slurs and things like that. Well, when Rocco goes and talks to Iacovetta, the joke, yes, the joke. When he insists on dropping the N-bomb, he won't accept him saying black guy, he won't accept it.
Speaker 2:And Rocco doesn't want to.
Speaker 1:He doesn't feel comfortable.
Speaker 2:They correct him every time where he's telling the joke and he's like yeah, and the black guy? And then they correct him with their word that they want to use yeah, that's what I said, Anyway.
Speaker 1:Yeah, that's what I said. Yeah, yeah, see, and I think I think a lot of that I mean, and even then in that context, that's one, that's just uh, that's one that's just oh, yeah, well, yeah, no, that's the. Uh, the, yeah, that's a, that's a. That's a different kind of thing, different level, but you also have to.
Speaker 2:You have to understand that, uh, you know, part of that is they are illustrating a particular group, right, they're illustrating a particular moment in time. They're illustrating a particular group of people, um, and a type of social, you know, class of sorts. You know people that use those particular terms and phrases like they're, like they're nothing, and especially like that time period east coast uh, you know, a lower, lower economic tax bracket those particular words would fly around like it was nothing and I mean, that's, that's all that they were. You know, that's that's all that they were just trying to illustrate is, you know, yeah, you're in this particular group. You're going to hear those things. Uh, you know, like those of us that grew up in, you know, in the midwest right, you know, you grew up in the midwest, late 90s, early 2000s bunch of hispanic population around here, what are some particular phrases that you heard on a pretty regular basis that that are not good phrases to hear?
Speaker 1:Right, they're not good.
Speaker 2:They're not good words to use, but they got used a lot, Right, Because you know that was just how it was. I'm not excusing it, I'm just explaining it. You know that's right. That's just a normal thing of like particular groups of people where they they talk that way.
Speaker 1:They still fucking talk that way, yeah, then there's not really a whole lot you can do besides. I mean something, something that I've kind of I was going to say something that I've kind of made myself like a little bit more I I have tried to make it more a point that if I, if I'm uncomfortable with somebody utilizing terms, especially racial terms, uh, that that are that are not okay, uh, I have made a point to say something. A lot of the time, uh, for for a good portion of of, uh, my adult life, it's kind of just been you know what that's. If they're going to use that, that's fine, that's on them. I'm not going to, uh, and I'm not going to like it. I'm not going to like that they do.
Speaker 1:But now I'm done Like I'm, I'm calling people on it, uh, and it's, and which actually is kind of why, which is kind of why sometimes this movie can be a little bit, uh, a little bit hard to watch because of you know the, because of the mix in the, in the wops and the. You know all the stuff that the, all the things that they're throwing out, like all the time, and you're just like God, can you guys just stop Like just fucking stop it already. Um, but uh, but again, like if, if they're going to accurately portray what South Boston is going to be like, then they have to do it, uh, especially at that time. I mean, I don't, I don't know any, if I have any listeners in South Boston. I am not shaming you people, like I'm just.
Speaker 2:I'm just saying we're not going for the stereotypes, but we're kind of going for the stereotypes a little bit.
Speaker 1:I mean, at least this movie was.
Speaker 2:So I'm not, I'm not dragging a potato on a string through south boston because I know I'd have better luck with a beer.
Speaker 1:Yes, that is one of my favorite lines. You'd probably have better luck with a beer. Yeah, I love that. Um so, uh, a couple of interesting facts about this movie. The word fuck and its derivatives were used 246 times in this movie.
Speaker 2:They certainly illustrated the diversity of the word.
Speaker 1:They certainly illustrated the diversity of the word. Um, that is, that is. I think you know. You might think that's a lot, but it's still like 42 on the list of movies that have the most fucks spoken.
Speaker 2:It's it's only number 42 in the top 50, so it's not that bad I was gonna say you know, some people might think that's a lot, I'd call it a fucking tuesday, but I was like it's it, it felt comfortable.
Speaker 1:It was a comfortable amount of fucks to to in a what is it hour and a half two hour movie. Yeah, so I mean a couple of interesting facts about it. I'm trying to look Now. I'm looking at your stuff You've got, you've sent me a book Fucking nowhere the joke, holy shit, we actually hit a lot of this stuff already.
Speaker 2:All right, give me another one of your favorite scenes let's see here um, all right, fuck it the cat, we gotta talk about the cat okay, so the context of this?
Speaker 1:I'm, uh, getting my, getting my trump hands out so that I can move them around as I'm talking here. Easy there.
Speaker 2:Your hands are too big. They can't be Trump hands. Yeah, I guess.
Speaker 1:I've got small hands for a bass player. I've got big hands for a Trump. So the context here is that you've got three guys that that have have just figured out that they're, uh, a part of this, uh, that they're now forming this little group of of uh vigilante killers.
Speaker 1:Yeah, vigilante saints that go in and kill people who are criminals and just generally evil. Well, they go back to the apartment and they've just got a shitload of cash for for, like out of a, out of a briefcase. They've ordered pizza, they've got shitloads of beer, they're all drunk as shit and they're sitting around a table talking about how they're going to kill a bunch more evil people. And Rocco, do you want to give the line?
Speaker 2:He's talking about. You know, they can dunk my nuts in marinara sauce so they can get a taste of home. Well, they're giving him fellatio like, fuck it, I'm done, it is done. And then he bangs his uh, bangs his fists on the other table, which, accidentally, uh, you know which uh which gets one of the guns to accidentally go off, and, uh, it hits one of the cats and then, yes, this fucking cat just blows up into just meat salad on the fucking wall it, it's well it it liquefies the cat.
Speaker 1:It is, it is a paint, it is, it is a, a, a level of paint, a coat of paint on the wall, and they, they, of course they freak out like oh my God, and they jump away from the wall and everything Um, you know, I can't believe that, just fucking happened. And then one of the best lines of the whole movie, I think, is when Rocco looks at the, at the gray matter on the wall, and says is it dead?
Speaker 2:This cat is fucking puree, is it dead? This cat is fucking puree, is it dead? It was I just.
Speaker 1:oh, they're, they're drunk, they're in shock. Yeah, they had to have been drunk, right? Yeah, oh yeah. And uh, like my producer just pointed out, rocco was like I, I'm hit, I'm hit. Yeah, that was a good scene, I love that. And then there was actually a really profound scene.
Speaker 2:Troy Duffy put that in because there was a chick that he had dated that had a cat and apparently she was a real pain in the ass and he was just like you know what Fuck it I'm putting this in. This is a self-indulgent scene. I'm pain in the ass and he was just like you know what fuck it I'm putting this? This is a self-indulgent scene.
Speaker 1:I'm putting this in. For me that's awesome. Oh, the the scene after it was actually pretty profound as far as the story is concerned, though, because then they bring something up that had kind of been broached a little bit in in the in the scene before, but they, they have a real, like a getting real moment with Rocco. They're like, man, they sent you into a room with nine guys with a revolver. Like they gave you a gun with six bullets to kill nine guys. This was a setup. They were trying to fucking kill you and he wouldn't buy it. And they were trying to be real with him. Like you know, dude, like come on, like you have to know that they don't give a shit about you and that they're trying to kill you, but he doesn't believe it, and then he goes and he creates another crime scene.
Speaker 2:Yeah, yeah, he finds out, they were right.
Speaker 1:Yep. He finds out they were right and goes terms of using his own term.
Speaker 1:I was a goddamn turkey shoot it was a turkey shoot went to a, went to a cafe, a bar, like a bar and grill sort of thing meets a couple of guys. They spill the whole thing for him and then he shoots every Italian guy in the place and then runs away. And then he bust every Italian guy in the place and then runs away. And then he busts in to the apartment for another really great scene where he's freaking out. We gotta fucking go.
Speaker 1:And he's busting, he's pulling, like I don't know why he was grabbing fucking records to put into this bag. He was just grabbing whatever he could to put into this bag to get the fuck out. Grabs records, grabs an iron, grabs some stuff out of the cupboard and all of that stuff. And then they, you know, fucking Norman Reedus. He's just all like, you know, yeah, I love this shit, let's go, you know. And so they finally get ready to leave and then Rocco gets yelled at by his girlfriend and her friend, rocco, what, the, uh, the, the, and then, and then he has to explain about the cat.
Speaker 2:Yeah, now, because I thought it would bring closure to our relationship, because I thought it would bring closure to our relationship.
Speaker 1:He, he um the his.
Speaker 2:His interactions with her are really unhealthy they were, they were not in a great relationship at all the, uh, the, the fact that he, that he, you know, you know what, what?
Speaker 1:your little, your precious little you, you tell me that cat's name and I'll shoot myself in the fucking head, your precious little little. And skippy, skippy, skippy. Oh, what fucking color was it? Bitch? Oh, my God, so bad.
Speaker 1:But the, the part that, the part that really got me in that scene, part that really got me in that scene, uh, I mean it's again, it's, it doesn't age well because of uh, because of the, the, I guess the connotation that it could have had, uh, at the time when when her friend his girlfriend's friend, you know tells him that he can't talk to her like that and he shut your fat ass, ravey, I can't buy a pack of smokes without running into nine guys you fucked. And it's like, yeah, that's slut shaming, yeah, but my god, the first time I saw that movie I I almost couldn't breathe with with the way that he pulled back with his hair and everything in that scene. And the funniest thing about all of that shit with Rocco is that was him. Yeah, yeah, that was Rocco. Like that wasn't a character, that was David De La Rocco, like that's who he was, and he was just in the movie.
Speaker 2:Yeah, yeah, the guy. Yeah, yeah, he's friends with Troy Duffy. Now, granted, he does have a classical acting background, but uh, yeah, I mean he was, he was friends with duffy. Duffy wrote the uh, he wrote the character rocco for him about him right, so.
Speaker 1:So he just goes into this movie playing him, like it's it. It's just fucking hilarious um, uh, and and then. And that just makes it even funnier when you get into all the other stuff that goes on with that character in some of their other interactions and everything.
Speaker 2:Yeah, I mean it was like Rocco was the interesting. You know he was the loose cannon, you know, if you will, like the other two, you know, with the brothers, like they had their, they were on a mission from God, right, you know to to quote blues brothers for a second, they were, uh, you know, they were on their mission from God. They were doing their thing and Rocco was kind of their connection into the uh, into the underworld, to be able to find guys that they could kill. But Rocco wasn't a hundred percent like in on the gag, right, you know he wasn't 100 like in on the mission, uh, where he would. He did things that were outside of the line, like when he, uh, you know when, when he holds a gun to the priest's head, uh, you know, uh to uh to get him to tell smacker certain things in the other confessional booth, like that. That almost got him fucking killed.
Speaker 2:Uh, you know, rocco was he. He wasn't the worst guy, but he wasn't a good guy either, like the uh, the, you know the guy did shit for the italian mob. He was a criminal, he was a numbers guy, uh, he was just lower on the totem pole uh, but he also didn't fit with. You know their particular line of like don't fuck around, otherwise we will kill you, kind of a thing. He did stupid shit. Uh, eventually they would have had to. They would have probably have had to take him out had he not already been taken out by uh yakaveta, um, but yeah, it was just. It was an interesting dynamic, uh, you know, with the three of them all the time, where he was always this like loose cannon that would pop off and do stupid shit and these guys are just.
Speaker 2:You know, god damn, we're just trying to do what god tells us to right you keep fucking it up, man, you keep making this difficult for us right now, the, the.
Speaker 1:I mean we could. We could probably do a three hour fucking episode on this movie. Honestly, um, but seeing where we're sitting at on the time anyway, uh, we're gonna kind of jump into one of the one of the deep ends of of this whole thing at the end of the movie. It brings into question the uh, I kind of I kind of talked about it with uh, with my sister in a couple of episodes the right thing to do versus the official thing to do, yep, um, and and all of that stuff, uh, and and that really kind of becomes a theme of this movie.
Speaker 1:Uh, entirely, is, you know, I mean the, the whole end of the movie, uh, in the credits, is just interviews with people around Boston about what they think about the saints. You know, is what they're doing right and you know is, is it okay? Should they be allowed to do it? Should they? Um, you know, like, uh, I mean just, it is kind of a, an ethical uh conundrum, uh and moral conundrum really, um, so like, I mean there's there's a lot of varying, different opinions some summer. I love some of the how some of the people are just like no comment yeah, those people are the one, those are the smart ones right nope, I ain't saying shit because I mean, and a lot of that's, because I mean where, where do you sit?
Speaker 1:You know, like you're sitting here, going. You know that's not, that's not how things are supposed to be done. Like there's we have, we have a justice system for a reason, uh, with you know, uh, with a judge and jury and and you know so that we don't have people playing those roles, um, and things like that. But then you know, like, like uh, murph says earlier in the movie, when they, when they were sitting at the table, you know, guys go home and they turn on the news and they see how all of these horrible, awful, evil people get off after, you know, spending a couple of hours in jail, um, and, and how are they supposed to feel about that? You know, when they could go to jail for writing a bad check, you know, or something like that.
Speaker 1:Um, you know all of these, all of these awful things, that that these people do and yet they don't get touched, that that these people do and yet they don't get touched, um, it can feel kind of frustrating, for, for you know, law-abiding citizens, that criminals get off using our, our justice system, yeah, totally so. So I mean it. It really is one of those things where I think that I think on any level, I think just about anybody can really feel both ends of the argument if they really look inside themselves, you know, and think, god, it really isn't fair. But I still understand that there's a reason why the system exists and why we use it the way we do, right? So yeah, I mean, I don't know, that's just, that's a, that's a pretty big part of the movie, like I don't know.
Speaker 2:That's the whole point of the movie. Yeah, the, the whole point of the movie is, uh, you know, pretty much like the, the ethical quandary, the moral quandary of you know, like, should these guys be allowed to do this shit? Right, you know, like, the people that they're killing, they're bad guys and now they're all just dead bad guys, right, um, you know that's that's the whole thing. But and then, yeah, you know, with with the interviews there at the end, I mean, yes, we do have a legal system and the system is there for a reason, right, because, again, you know things that things that don't scale.
Speaker 2:You know, the, the tribal justice, that's not something that's going to work right, where you can. You know you're like, I have a strong sense of right and wrong. Cool, I'm glad you do. The guy next to you fucking doesn't Right. And you know, and as, as human beings, you know, we're flawed and we need fucking rules because we're idiots, you know. And so that's why you have the, that's why you have the legal system, that's why you have the justice system, and so that's why you have the legal system, that's why you have the justice system, unfortunately and this is the point that they're talking about where you've got bad guys getting off is the way that law works and the way that lawyers work is that it's not about the law and how they're able to spin it and how they're able to interpret what that law actually means in front of the uh, the judge and the jury, and then the judge and the jury makes the decision based off of the interpretation and then they're able to come to their own conclusions. There is a huge amount of potential manipulation that can happen with that to where, if you have the right lawyer, they could fucking you know, they can uh interpret their way out of you know, a guilty verdict. Just with the way that they put things, it winds up being, you know, theater at that point and it's all a game and it's just making sure that they're able to come out on top with their explanation and their interpretation of the events and their interpretation of the law so that way the conclusions get steered in the correct direction.
Speaker 2:That's not even coming into corruption that you can run into, where the judge gets paid off or the jurors get you know, the juries get paid off. You know things like that. Like, yeah, we see that shit get you know in movies all the time. But you bet your ass, it happens all the fucking time in the really real world. Uh, nobody is impossible to find, you know, as as much as they try to make people anonymous, uh, you know, for juries to where you can't find their addresses and shit like that, ah, bullshit, anybody can find you. And then you know you can scare the piss out of somebody to where they wind up giving a guilty or not guilty verdict or you pay them off, you know, and then they they wind up saying whatever the hell you want and jury duty doesn't pay that fucking well, you know you hand somebody 30 grand, tax-free 30 grand. 30 grand, fuck him, he didn't, it's not my mom, he killed hell with it.
Speaker 1:I'll take the 30 grand yeah, I, uh, I like that crow reference um, really real world.
Speaker 2:I use that all the time. Yes, I know it's a really real world.
Speaker 1:Yes, that is the thing I say all the time um, yeah, just shoot back to crow if you haven't, if you haven't listened to that episode, go back and listen to that one.
Speaker 2:That one also has derrick in it uh from from season one and that could be another one. You know that's another one where you could argue vigilante justice in that one, right, you know he came back from the dead to kill the guys that killed him. If you're looking at it from a moral and ethical standpoint, is that a right thing to do? Well, no, I mean, killing is wrong. But if you're killing bad people, does that make it less wrong? And that's that's where you get like the whole ending credits of the. The the boondock saints is, uh, you know, is people pretty much let's get busy.
Speaker 1:Yeah, right that that that guy is my favorite.
Speaker 2:It's people coming to terms with their own uh, you know, their own ethics and their own morals and what, uh what, what they're comfortable with. I mean, how many times have we heard somebody say you know dead pedophiles don't? You know, don't recommit right? Or how many times you know us living in the Midwest, how many times have you heard you know dude breaks into my house? That'll be the last time he does it, right, you know, because you know he was a bad guy, Exactly yeah.
Speaker 2:We don't call 911 in this house exactly I uh.
Speaker 1:I saw another good one, uh, one of the families I serve has a sign that says, uh, we use wireless, uh, wireless home protection, jesus, and it has a picture of a gun with a bullet coming out I was like okay, that's good, I like that that's, that's creative.
Speaker 2:You got to give them that one. But I mean, you know, we've I've had numerous conversations with people talking about Luigi in the same context, you know with what happened. You know with the other, the health insurance guy, like, I'm not going to say what he did was the right thing to have done. I can understand where he came from. I'm not going to say it was the right thing to have done. I can understand where he came from. I'm not gonna say it was the right thing to do. I am gonna say that I understand where he came from.
Speaker 2:In that, because it's the same kind of thing where you've got, you've got people that are playing the system and you have people that are poor and sick and vulnerable, that are getting taken advantage of and getting fucked over. And somebody said, and somebody finally just broke and said you know what, enough, and they fucking did something about it. I'm not saying what they did was the right thing to do, but they just they did something about it. And then you have your own ethics and your own sense of morals and whatnot on how you can justify or disagree with whatever, what was, whatever was done. This is exactly what we're talking about with Boondock Saints. All of those guys that got killed, all of them bad guys, every last one of them. Some of those guys had families, right, They've got kids and shit. So those are kids that now don't have parents because they got killed for being bad guys. But you can look at it as being a law-abiding citizen going fuck that guy. He was a bad guy. He's now, he's a dead bad guy. Fuck him Right.
Speaker 1:Well, I mean. I think I think the most apt way I think I've ever heard it put is I don't agree with it. I understand it, but I don't agree with it Like Chris rock talking about OJ Simpson, right, right.
Speaker 2:I Jay should have killed his wife, but I understand.
Speaker 1:Yeah, now I'm not saying that, you know, making jokes about, you know, spousal or child abuse is funny no, it's not funny. But like that whole thing, yeah, I understand it. I don't agree with it, but I understand it. Yeah, and I think that's okay too. I think that's an okay, but I understand it. Um, and I, I think that's okay too. I think that's an okay position to have on it. Um, so if I were to ask you if you had medicine in this movie, what would you tell me? It is.
Speaker 2:Don't know. To be perfectly honest on that one, I would say probably, uh, you know, probably a strong sense of justice. Um, maybe not a strong sense of right and wrong, Uh, but you know, yeah, there's, there's probably a strong sense of justice in this. Um, you know, definitely a strong sense of camaraderie of sorts. You know with, uh, you know, between the, uh, the two brothers, Rocco, uh, you know, when Billy Connolly comes in, you know as the uh, the the Duke. Uh, you know the. Or you know as the uh, the the Duke. Uh, you know the. Or you know Duffy and the cop, or not Duffy, but uh, Willem Dafoe and the other the cops. Um, you know, like, definitely very much like sticking with your tribe. You know if you will. You know your particular groups and taking it upon yourself to protect your what's important to you. Um, I w I would say if there was some sort of a medicinal value that you're looking for, I would say it's probably that uh, uh, you know understanding what's important to you and you know showing value for it.
Speaker 2:We're showing showing how much it's valuable to you.
Speaker 1:That's a good one. I like that. Actually, that is kind of unexpected, um, kind of unexpected, um. So, like you've actually given me, you've given me more to take from this movie than than I had been. Uh, so I appreciate that. Thank you, um, for for me, the medicine is actually right square in the beginning, like one of one of the first lines spoken uh, by by one of the priests, and it's kind of the reason why I've decided to not keep my mouth shut Uh, when it comes to, uh, when it comes to people speaking ignorantly, uh and and, uh and and, out of turn the uh, when, when the priest he says, uh, you know that there is another kind of evil that we don't often acknowledge and that is the indifference of good men, when people stand by and let injustice happen when they could have stepped in. I think that that is probably the most profound thing that I've taken from this movie is that I can't stand by and let things happen anymore.
Speaker 2:Can't give in to the Genovese syndrome.
Speaker 1:Right, and I have a yearly reminder, which is kind of nice. I mean, the fact that I want to watch this movie on on St Paddy's day every year is just it's because of the movie, uh, but, but it is nice having that reminder every year that, hey, you don't, you don't stand by and let injustice happen, right, uh, so that's that's what it is for me.
Speaker 2:Um, I have a feeling you're going to be running into that a lot over the uh, the next uh, the next couple of years.
Speaker 1:It's gonna it's gonna keep me busy. Uh, honestly, I think I almost, I almost wish I got paid for it, because, like, it's going to be like a second job, um, so yeah, uh, well, thanks for thanks for having, uh, having the the gumption to come on and talk about, you know, such a hard and over an hour.
Speaker 2:So yeah.
Speaker 1:Now, we did get distracted. My producer pointed out we got distracted quite a bit.
Speaker 2:You know, in our defense she's supposed to be the babysitter.
Speaker 1:She is yeah, so I mean we'll, we'll go ahead and lay that blame. I knew that would, I knew that would be. So, yeah, all right. Well, uh, if, uh, if you've got a movie or anything that uh that's moved you or been medicine for you, you can uh let me know, come on the show. Uh just send me an email at uh contact at movie dash rxcom. Uh, you can also send me a text message or a voicemail at 402-519-5790. Other than that, I guess we'll see you at the next appointment. Thank you.