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This week, on Supercilious Pieces of Frivolous Fluff:
Can we have fun? David Leitch says YESSSS. Dwayne Johnson and Jason Statham spend two hours trading kindergarten-level insults about each other’s height and baldness while saving the world from a techno-virus and Super Smart Idris Elba. Being a Fast & Furious movie, we obviously have FAMILY with Venessa Kirby and Helen Mirren… So we’re now up to 5 perfect people to cast in a movie. Sprinkle in Ryan Reynolds, Kevin Hart, Rob Delaney, Cliff Curtis, Eiza González. I mean, you had us at David Leitch. But the cast of this thing is everyone we want to hang out with for two hours. So… That means it’s time for a new Great Bad Movies episode.
Greg and Joe discuss how their perception of this movie has changed in the last 5 years, explain “Hobbs & Shaw Travel Logic,” and where Death Race would fit in the Fast & Furious Power Rankings. As always, they create drinking games for the film and answer the most important questions.
Joe’s Back of the Box
When a virus is stolen by a rogue MI6 agent the only two people who can save the world are Hobbes and Shaw… Together they fight the secret corporation behind the virus which is trying to make a breed of super soldiers. This unlikely duo trade punches, barbs, and jokes through this high octane thrill ride as the action spills out onto the streets from London to Samoa…
The REAL Back(s) of the Box
What if Mission Impossible 2 and Tango and Cash had a baby? If you, like us, have ever wondered that, then I have good news. Hobbes and Shaw sticks the landing and makes all your dreams come true. Throw in David Leitch directing and perfectly timed cameo’s from Ryan Reynolds and Kevin Hart and this might be a perfect movie or at least a great movie or at least a movie…
Idris Elba plays Brixton. A soldier and visionary leader trying to help the human race evolve to a higher plain of existence. Unfortunately an unlikely partnership forms between Hobbs and Shaw and they work to stop the evolution of the species due to their misguided principles.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Greg: Joe in the movie we watch this week, Dwayne The Rock Johnson talks about the last place on earth he wants to go to, and that is home. When we lived together, what was the last place on earth you wanted to go to?
Joe: Probably high school.
Greg: High school? Yes.
Joe: I hated high school. We both went to the same high school. We both moved in the middle of a school year to this high school. I think you are like, one year ahead of me. Yeah, but I was a freshman move there in the middle of freshman year right before Christmas break in like 1990. And it was the worst shock to the system possible.
Joe: It took me forever. So the thought of going back to high school even now is probably the last place I’d ever want to go. And that especially because when we lived together, we were just in college.
Greg: Yeah.
Joe: And it was still pretty fresh in my mind of what an awful experience that was. Yeah. What about for you? What is the last place you’d want to go?
Greg: When we lived together, we lived in a house on North Garden Street in Bellingham, Washington, and we lived in the basement, and there was kind of a main floor that had tenants. And then there was an upstairs that had.
Clip: Tenants.
Greg: And we all shared the same heater. But the heater was locked. Do you remember this? We weren’t able to change the temperature on the thermostat. Because of Frank. Because that who our landlord was. Frank.
Joe: Sounds right.
Greg: Yeah. I feel like Frank had locked this thing down. And so when we were cold in the basement, do you remember what we would do?
Joe: I don’t remember this. I remember being cold a lot because I’m always cold.
Greg: We would take a frozen bag of peas from our freezer and put them on top of the thermostat to make the thermostat think that was super cold and then it would crank the heat for the entire house. And so the last place I would have wanted to go when we lived together was either upstairs or even worse, two floors.
Greg: It must have been insufferable upstairs to make it normal for us on the main floor that winter. Yeah, so that’s.
Clip: That’s the last place.
Greg: I’m much like Dwayne The Rock Johnson. I’d wouldn’t want to be home, but just, you know, a floor up in my own home is where I would not want to be.
Joe: I had totally forgotten that we had done that.
Greg: I don’t know where those peas came from. We never cooked them.
Joe: Nobody had these.
Greg: We had the same bag of peas the entire year for the heater when we needed it.
Joe: We may have gotten it just for that purpose. Like there is, a good chance for getting ice cream here. Like you want to get some frozen peas and tried it out.
Greg: So we had both just moved out of our parents houses when you moved in together. And so I think a lot of my initial grocery store trips were like virtue signaling, like, I’m going to be the kind of person that eats peas with my dinner. Yeah. And then I never did. So my cupboards were full of stuff I was never actually going to eat.
Greg: So there’s a chance I bought some peas.
Joe: Yeah, I don’t like peas. I didn’t like them then. I don’t like them now. I.
Greg: All right, let’s get to the show.
Joe: Let’s do it.
Clip: For me, I’m dealing with the future of the planet. I am human, evolutionary change. Bulletproof. Super human. Who the hell are you? Bad guy. We need help.
Clip: Our target’s name is Brixton. He’s a ghost. We’re going to need the best trackers in the business. Lucas, I’m what you call an ice cold. Cannot go past. You’re going to need to operate outside the system. Deckard Shaw I’m what you might call a champagne problem. You guys have to work together. No way. This guy’s a real asset.
Clip: It’s Hobbs and Shaw.
Clip: In the year.
Greg: 2019. Our guy, David Leach was tasked to make the first side project in history of the Fast and Furious. Fast and furious presents Colin Hobbs, ampersand. Shaw. We are talking about Dwayne Johnson, Jason Statham, Idris Elba, Vanessa Kirby, Helen Mirren, Eiza Gonzalez. We have a few amazing cameos and then we’ve got Kevin Hart, Ryan Reynolds, Rob Delaney. Most of the stunt people that you see in John Wick are also in this movie.
Greg: Joe Skye. Tucker.
Clip: What makes Hobbs and Shaw.
Greg: A great bad movie?
Joe: This one. It’s. I’ve seen this enough time. Now I know. First time I saw this was on a plane. It was the perfect movie to see on a plane. It’s like the perfect plane movie. Yeah. Nailed it. It’s basically what if the Fast and Furious verse wanted to make a comedy, and they didn’t want to, like, stick it in their normal movie, fast and furious averse.
Joe: So they give us Hobbs and Shaw. It’s really a it’s a fun movie. There are some really fun action sequences in it. It’s it’s legitimately funny. There are moments where you’re just you shouldn’t laugh at him, but you really do. So it’s like an action comedy. So I appreciate that. It’s fun. It drags a bit in spots. I’m not going to lie.
Joe: Yeah, and I’ve seen it enough times where I’m at the point where I might start fast forwarding through the pieces that I’m.
Greg: Oh.
Joe: Bored with and just want to get to the best action sequences of it. I do love David Leach. His fingerprints are all over some of the action sequences, especially some of the hand to hand stuff. Yeah, yeah, and one of my spoilers for one of my drinking games, as he loves to have his stunt people in helmets.
Clip: And so, so.
Joe: Like, the same four people basically beat up in this movie over and over again. Yeah. It’s awesome. We have Jason Statham and the Rock reprising their roles. And of course, Jason Statham character Declan Shaw is now a good guy. Of course.
Greg: We only need you to be a bad guy in one movie in the fast, and.
Joe: That’s all you get. And then you have the rock kind of overacting in every scene he’s in. Sure. That’s great. You have Vanessa Kirby who’s amazing in this. You have Idris Elba who. Yeah. I wanted more of him in every single scene. He is so perfect for this movie really. And you have one of my favorite kind of action sequences that they do in this is they have like an action sequence out of a building into a car chase.
Clip:
Joe: Which is just so much fun. And so I’m going to stop just kind of blabbing on and see. Greg Swineherd, why is Fast and Furious Hobbs Shaw, which also, I should just say could also be a password. If you need a password, just Hobbs ampersand. Shaw colon. You’ve got it all.
Clip: Yeah.
Joe: You might need to throw in a number, but this is the first one. I’m sure there’ll be a second or third, so. But number one in there and you’re good.
Greg: Maybe an exclamation point for higher security.
Joe: Yeah. Yeah, but why do you love this movie or do you love this movie?
Greg: And it’s been a weird five years since this came out. Almost five and a half. What a difference. Five and a half years can make when you’re watching Hobbs and Shaw is what? It’s what I learned this week, because obviously I went to go see this movie in the theater because it was part of the Fast and Furious canon, and when viewing it from that angle, it’s a little bit strange at times, you know?
Greg: What are we doing here? Why are we treating this like it’s a Vin Diesel Fast and Furious movie when Vin Diesel isn’t in this game? I kind of play some of that Fast and Furious brand on Vin Diesel, and when he’s not around, I kind of wonder why we need to do it. It kind of strains a little bit at the seams when they’re asking the rock to be kind of the Vin Diesel type in this movie, but it is legitimately funny.
Greg: And the fight scenes, the ones that aren’t super CG, yeah, the ones that are not entirely computer generated are incredible. Of course they’re incredible. But okay, so that was five and a half years ago, you know, not entirely sure what it is that I just watched, but I enjoyed watching it. This is one of those movies where the second time you watch it, you can kind of gauge a little bit better with the movie because you know what you liked about it and disliked.
Greg: You can kind of really lean into the stuff that you love and like you say, kind of fast forward or not, pay attention to the stuff that you don’t like. There’s plenty to love in this movie. I think this is absolutely a great bad movie. But this year and this week, we just did John Wick recently on our show.
Greg: Of course, I’m watching it not as a fast and Furious movie, because five and a half years later, the Fast and Furious verse has kind of worn a little bit thin for me. And so the reason I’m excited to watch Hobbs and Shaw is because David Leitch directed it. And so the longevity of this movie, I think, will not be because it’s in the Fast and Furious universe.
Greg: It’s because it’s part of David Leach’s incredible catalog, and his batting average is high. Pretty amazing. Yeah, yeah. Who directs John Wick? Then he makes Deadpool two and then he makes Atomic Blond. And then this film. And since then he’s made The Fall Guy. Is that the only movie he’s made since then?
Joe: I think so, I mean, that’s the batting a thousand to me in terms of movies.
Greg: Bullet train. I can’t believe I got bullet trains in there.
Joe: Yeah.
Greg: Bullet train is after this. Oh my gosh what a gift David Lee. Yes yes. Agreed to you and me and everybody else in the US. But yeah. And so when this movie is clearly a David Leitch movie, it’s also a Dwayne The Rock Johnson movie in the Jason Statham movie. I mean, I’m going to watch movies that they’re in anyway.
Greg: Same with Vanessa Kirby. But this is just a great movie to watch because of everyone involved, not because it’s in the Fast and Furious universe. And in fact, that’s actually kind of a drag on this film. The fact that as part of the Fast and Furious universe now. And so, interesting to watch, it’s through a completely different lens, you know, an approach it from a completely different lens.
Greg: And I bet I watch this movie more than I watch most of the other Fast and Furious movies for the rest of my life.
Joe: Agreed. And I think the first half of this movie is near perfect. Yeah.
Greg: Oh, totally.
Joe: I basically, because I had started watching this before we were even going to do it a few months ago. Because anyway, don’t don’t judge me.
Greg: Because you’re a gentleman.
Joe: Yes, because I’m a gentleman. And I like the finer things.
Clip: Sure.
Joe: But I got through the first half and I stopped when they go to Russia, because to me that’s where. Yeah, the action becomes really CGI heavy.
Greg: That’s exactly where I think it takes a turn as well.
Joe: I mean, there’s some fun scenes when they’re captured and Idris Elba is torturing them and. Right, and there’s the funny moments and then they end up in Samoa, which is again, a CGI fest and it just loses me. But like, that first half of this movie feels like this is a David Lynch film. And then it’s like, oh, wait, we have to bring it back into the Fast and Furious verse, right?
Joe: And so there are choices that are made and I get it. It’s still a fun sequence going through as basically three square miles explodes by the end of it. Right? And it’s it’s pretty fun. But compared to a couple of the earlier scenes and there’s a couple moments, there’s a great scene in Vanessa Kirby’s apartment when Jason Statham goes there.
Joe: It is just like a David Leach. Like, yeah, not a lot of cuts. Yeah, really fun hand-to-hand combat. Throw in a grenade and some stuff like that.
Greg: And it’s so many grenades.
Joe: It’s something like, that’s so awesome. So those are the moments that I really lived for. And then the comedy piece so David Leach, I think brings to his movies, is evident in all of them. It’s it’s legitimately funny. Yeah. Ryan Reynolds shows up early in this film. Right. And just steals the scene sitting with the Rock and his daughter and breakfast.
Joe: And it’s just it’s like slightly uncomfortable and hilarious. And you have Kevin Hart showing up later in the film as well. And it’s just really funny. There are just some really funny moments that are make it worthwhile to kind of sometimes sit through some of the drudgery of why are we going here? Oh, and are we supposed to like, think logically about how long it takes to get there because, you know, if you start putting any sort of logic to this movie in the plot, you just kind of lose it.
Joe: So I’m kind of with you. I’m a little bit like mid on this movie. The more I watched it. But there are still like the parts I love, I love and the parts that I don’t I can like, live with or live without.
Greg: You’ve brought up Hobbs and Shaw logic. Many times when it comes to travel. Yeah, on our show and we’ve gotten questions like, what is this Hobbs and Shaw logic that you guys are talking about? It was something that we kind of figured out not on the show. And so can you explain what we’ve been talking about when we say Hobbs and Shaw travel logic.
Joe: Sure. So basically they travel all over the world. So the rock is in LA. Yeah, yeah. To start right then he’s just in London almost instantaneously. Knowing that it’s at least, 12 hour flight, probably 10 to 12 hours. Sure. And then they go from London to this place in the Ukraine overnight are like instantaneously was like an hour, like they’re just like in the air for an hour and then they’re there.
Joe: And then they.
Greg: Really wanted at that point as well.
Joe: Exactly. Yeah. Should be noted on every no fly list ever. And then they throw in a quick line about, well, we have these biometrics. We changed your features, which actually I appreciated that line because I was like, well, now that this falls apart, that with it it’s like, thankfully a writer is in the room. They go, excuse me.
Greg: Right. And the Rock is Michael small, so yeah. Yeah, totally different than Luke Hobbs. So of course you can get him out there.
Joe: Yeah. Yeah, exactly. And then you have them going from that place where everything has blown up. So you have no idea how they’re getting anywhere. The magically showing up in Samoa? Yeah, of all places. I’m still a little loose on the logic of why they went there. And it’s again another like two hours have passed in the time of the film, but they’ve gone from the Ukraine to Samoa, right?
Joe: Which, if I’m thinking on a map, is not a two hour flight, it’s a you know, it’s another really long flight in the middle of the South Pacific.
Greg: I guess they go in like a jet, right?
Joe: Because Kevin Hart’s character as an air marshal who can get them whatever they want and wants to be the third musketeer on their team and whatever.
Greg: Right. But to me.
Joe: Hobbs and Shaw, travel logic is it doesn’t matter how far away it is, it’s just going to be about an hour.
Greg: Yeah, we’ll get there. It’s about an hour. What is that, like an hour?
Joe: Yeah, for an hour. Maybe an hour and a half.
Greg: Ukraine to Samoa.
Joe: Yeah. Hour and a half. I think we’re good. And then the bad guys will be there the next day. So they get there. The bad guys would be the next day. So they have a day in Samoa to build up their army and do all the stuff that they need to do to make sure that they can protect.
Greg: Well, the bad guys didn’t just arrive. They arrived with like all of their vehicles as well. They came by ship. They came by a container boats apparently.
Joe: And don’t think about it.
Greg: No. So Hobbs and Shaw travel logic. It’s the greatest. Let’s just get there. You know, we don’t need to see how it all happened. But it is funny that they have, like, this absolute timer ticking, with a virus that’s in Vanessa Kirby that has 72 hours before. Not only does it take over in her body, but then we’ll just immediately spread across the whole globe.
Greg: Yeah. And so yeah, we feel a little bit sensitive about the travel and. Yeah.
Joe: Yeah. And if you think about they probably spent at least half of that time traveling. If you did the logic of like how much time it takes to travel anyway, they’re getting through all of this, let alone the fact that they are wanted fugitives.
Greg: Right.
Joe: And that they’re having to travel with all kinds of weapons.
Greg: And,
Joe: Other stuff.
Greg: So they’re getting hooked up by Kevin Hart and by Eiza Gonzalez. This is why people listen to this show so that we can slowly figure figure we’re doing the work so you don’t have to.
Joe: Basically, we’ve just ground this podcast to a halt with this logic.
Greg: Okay. So you mentioned it’s really funny. Yeah. There are a few different kinds of humor that this movie brings in. The first one that they knew already from furious seven and fate of the furious is that Jason Statham in the Rock like two exchange? Kind of like almost like professional wrestling barbs, you know? Yeah, just to bring each other down a notch.
Greg: So we have that kind of humor. We also have just little short things. It seems like the Rock just likes to mess with Statham. And then Statham comes back with something really quick. So there’s like the longer like roast moments where they say long sentences to each other, and then there’s the shorter one, and then Ryan Reynolds comes in and kind of takes over for a minute.
Greg: Kevin Hart, it’s really kind of all over the place. It’s a movie that’s loose and allowed to go wherever funny people think it should go. And then I think maybe we needed to bring in the reins on some of that, even though it’s all funny, it’s.
Joe: Yeah, them giving up, especially when they give each other a hard time. Yeah, it wears a little thin by about halfway through the movie. You know, the arc is that they’re going to have to figure out how to work together and right. It does just drag on. And there’s a lot of jokes about going balls basically. Yeah, it’s just a lot there’s a lot of those sorts of references.
Joe: And it just to me that does get a little old. I did love some of the little cut scenes of like when they’re fighting alongside each other, so they kind of have the they do a lot split screen.
Greg: Yeah, yeah.
Joe: And even splits like where they’re fighting where like, you know, Dwayne The Rock Johnson jumps out the window and like lands on one of the bad guys and then Jason Statham is going down in an elevator and is basically just making faces at each other. Right. Like that is to me where it’s at its best, pretty good. And they kind of have a similar one when they’re in the Russian facility and, you know, one going to one side and fighting all these people.
Joe: And so, yeah, you know, there’s some little moments of humor that they bring into it. And then there’s a little bit too much of just like the jocular locker room.
Greg: Let’s hear a little bit of it.
Clip: Can I booked an emergency row for a little bit more leg room. And not everybody has hobbit legs like you. I look okay. You didn’t realize I could give a damn about your comfort. So why don’t you be a good elephant? Suck up another kilo of peanuts, put your chair back and relax and listen. Don’t ever tell me to relax.
Clip: I don’t have to do anything. Anytime you ever say anything, it makes me want to take my bunch of. It’s so far up your ass you’re going to spitting out shoelaces all week.
Greg: It’s great. It goes on a little bit long, though. And I remember the first time I saw this I was like, oh we’re doing more of this. And I cut that scene in half.
Clip: Yeah.
Greg: And they do start to bring in plot points where they’re kind of like trading barbs like that. And it’s kind of like they are so exposing that maybe Dwayne The Rock Johnson is starting to think that Vanessa Kirby, who is Jason Statham sister, is maybe somebody that he wants to date, potentially. And I’m sure there’s like 30 years difference in their ages.
Greg: 20 something years, maybe, but I want to play a couple of the shorter ones too. That just happened throughout the movie.
Clip: At the end of the hallway, the retinal scanner needs a match to open the door. Backdoor. All right. Nope. That’s my door matter with you.
Greg: Here’s another one.
Clip: That’s a lot. What a ride. I got shotgun, I got shotgun. No, no, no, don’t start that.
Greg: Just lots of those quick little ones. Yeah, there could have been a million of those and I would have been okay with it. Yeah, they are super funny when they’re just messing with each other like that. So I prefer the smaller stuff like that because I guess it kind of keeps the movie going forward. Sometimes it’s like, why are we stopping for like literally two minutes for this?
Greg: But David Lynch in the in the director’s commentary said you wouldn’t believe how good Dwayne The Rock Johnson is at this. He wrote a lot of this stuff himself, and it’s just a muscle. He had from professional wrestling. He could just come up with stuff in a heartbeat. What do you need? I’ll come up with a whole scene of people smack talking to each other, because that’s what they used to do all the time in professional wrestling, so I’m sure they cut a lot out.
Greg: That was in the movie.
Joe: Yeah. I wonder how many like what on the cutting room floor of those scenes and like, how much longer they are. Because to me, that scene when they’re on the plane drags a little bit. Then Kevin Hart shows up and it’s he is hilarious.
Greg: Totally. He’s my favorite cameo, actually, in the movie, and he’s actually kind of moving the plot forward as well. Like, he’s our new guy. They can come up with anything.
Joe: Yeah. Let’s hear a little bit of Kevin Hart.
Clip: You know what your problem is? You bounces off. You need a third squatty go, guys. I know the game. Yeah, me, I know the game. Are you doing? What do you mean what am I doing? Don’t talk like that. It’s not different. Dude, that’s not your voice. Use your regular voice. This is my regular voice. I’m talking like the warlocks talk.
Clip: Baby. They don’t talk like that. I’m just showing you, that’s all. Guys, look, all I’m saying is I can complete this holy trinity that you guys have. Three would be too much. It’s my resume. It’s my card. Because if you need stuff, I’m the guy that you call to get what you need. What does that tell you? What did you.
Clip: Five. You were born? 747. You want a helicopter? You want something stealth? I’m an air martial America.
Greg: Amazing.
Joe: It is amazing. Ryan Reynolds is a close second for me on the on the cameos.
Greg: Yeah.
Joe: It’s funny, but Kevin Hart saves that scene. Totally does drag for me a little bit. A little bit. One of those okay though. We need them giving each other a hard time. Then Kevin Hart coming in and then. But it’s hilarious and I’m sure that there’s like ten more minutes of them just kind of riffing with each other.
Joe: That’s equally hilarious. It just does not go anywhere in the movie. I love when he drops his voice down and totally, that’s okay.
Greg: Next time you watch that scene, watch Jason Statham, the cameras over his shoulder. But he’s like, laughing and like turning away. He he is laughing. So hard while he he cannot keep a straight face. And actually, right before Kevin Hart shows up, there’s a frame where the Rock says something kind of funny, and you can tell that he totally breaks and they leave just like a frame or two of his face about to explode in laughter.
Greg: So I think they were probably just having a great time. Vanessa Kirby I heard she’s like, asleep next to them on this plane, she said, is the best day of acting she’s ever had. She has like an eye cover thing on, and she’s just pretending to sleep the entire day. Should we listen to Ryan Reynolds?
Joe: Yeah.
Clip: All right. Lucas. Rebecca Hobbs, I haven’t seen you in forever. Rebecca. Do you even h. How long has it been? Six months. Time flies. When we’re apart. What is your skincare regimen? Because you look like a young Shirley Temple. Go go go go go go. Daddy, who’s this guy? Well, this guy is, is Locke, and he works for the CIA.
Clip: Dad and I are old friends. We’re not old friends. Actually, we’re, we’re best friends. There’s the half heart. I don’t know what that is. We got some ink together. We did not go together. Oh, we didn’t know. We did not. Interesting. Well, never did. I seem to remember getting a little something like this at one point on my body.
Clip: Jesus Christ, I miss our playful banter. You have one minute to tell me what you want before I knock one of your lungs. You and I are after the same thing. Say hello to the CT 17 virus. It’s a programable bioweapon of biblical proportions. Affectionately name snowflake. What does a snowflake do? Oh, nothing much. Just liquefies your internal organs.
Clip: Basically turns your body into a giant bag of hot soup. She is nine. Seen worse. Wear Game of Thrones genitals. I’ve never. Lannister always pays his debts. You’re never going over there again. But there’s a new wrinkle in the case. Rebecca. The specifics are all in the brief.
Greg: He got, he hands it to her.
Clip: She’s ready. She’s not. This is the only unit of KT 17 in existence. And this snowflake is now in the hands of a rogue MI6 operative in London. Dad, are all spies that pretty now she is unusually attractive and deadly. Last night, she was part of an MI6 team tasked with securing the virus. She then proceeded to kill her entire black ops squad.
Clip: She stabbed one guy in the chest using a brick. Do you know how hard that is to stab someone using a brick? Get to the point. The point is, there’s no sharp edge. How did she get an entire brick into another person’s chest? She either had to be really strong, or the other person had to have been like, born without like bones.
Clip: Get to the larger point. She stole the snowflake.
Joe: My favorite part of that whole thing is that the brick covers.
Greg: Lucas. Rebecca. Hobbs. That’s something I used to do in elementary school. Like, if you want a little glimpse into what third grade Greg was like, I would start making fun of somebody for what their middle name was, because there’s, like, nothing more embarrassing than your middle name. The reason I would do that is so when they asked me what my name was, I would say Stephanie.
Greg: And walk away. It was all a setup. That’s what third grade Greg was like. Just doing.
Clip: Bits.
Joe: That’s pretty amazing.
Greg: Anyway, so, Lucas, Rebecca Hobbs made me laugh pretty hard. Yeah. Ryan Reynolds, he’s really great. But I think, David is maybe a little bit too high on on the magic that Ryan Reynolds brings to a movie after working with him on Deadpool. I feel like it hijacks the movie a little bit. Ryan Reynolds is too much, but I’m glad he’s here.
Greg: I mean, I left, obviously.
Joe: But he’s one of those actors that, like every part, is the same character. And it’s funny if you like. And I like Ryan Reynolds, I think he’s funny. Oh yeah. But there are moments where it’s like, oh, we’re just doing the Ryan Reynolds thing, right? You know? And it works perfect in Deadpool. It works for this. And short bits.
Joe: Sure. There’s some other ones where like, oh, maybe, maybe try something a little different because I’ve heard that he kind of rewrites all of his lines to be that.
Greg: Yeah, he wrote that scene essentially. In the commentary, David Leach talks about how Chris Morgan, who I think wrote Tokyo Drift on. I think so, but at this point, and this movie came out after fate of the furious before F9, this is the ninth Fast and Furious movie. And so Ryan Reynolds would kind of bounce ideas with David Leach and Chris Morgan, and David Leitch said, let’s be honest, was mostly just Ryan Reynolds sending stuff.
Greg: And we would kind of say yes, yes, no, yes, yes. He’s just like a flood of script ideas.
Joe: Yeah.
Greg: So that’s why he always sounds like that is because he is largely writing all of his stuff. We’ll definitely get to The Hitman’s Bodyguard. Yeah, and we’ll definitely get to other Ryan Reynolds movies as well. But that’s probably the greatest great bad movie that he’s been in.
Joe: I mean, we do have safe House.
Greg: Oh my gosh, we are for.
Clip: Sure.
Joe: Getting to say that.
Clip: So yes. Let’s just. Yeah.
Greg: Okay. Okay. Oh, man, that was so presumptive of me. I apologize to you. I apologize to the listener.
Clip: Yes. There’s a lot.
Greg: Of Ryan Reynolds. What are we getting to specifically, though, if you want to peek into our list for sure. Safe House is like in there. Yeah. Denzel Washington.
Joe: I don’t understand how we make decisions.
Clip: This one.
Joe: Whatever movies that we don’t think anyone else has really seen. But we love.
Greg: What conversation needs to happen about movies. And also, it’s important that no one is asking for this conversation to happen.
Joe: Exactly. But then you found our sweet spot, right?
Greg: Yeah, absolutely. The universe did not ask for Hobbs and Shaw in 2025.
Joe: That’s what you’re getting.
Greg: That’s what we’re doing. Anyways, when you were watching this, do you notice any similarities between this movie and John Wick? Kind of some consistent things with David Leitch.
Joe: I noticed, especially, like I said, in the hand to hand fight scene.
Greg: Sure.
Joe: Yeah. His fingerprints are all over it. Yeah. The fact that so many of the stuntmen have helmets on, that’s another to me, that giveaway right there on motorcycles. Yeah. So there’s some fun motorcycle car chases that happen within it. I paid attention to the color story. Sure. You know, for both Hobbs and Shaw, especially in the beginning, they’re both completely different.
Joe: How they’re shot. Like, it’s really warm tones for the rock and kind of cold tones for Jason Statham. I’ll stop there and see. What. What did you notice? What did I buy? What have I missed from there?
Greg: That was the main thing that I noticed. This movie actually has the same cinematographer as John Wick, Jonathan Sealer, and I mean, in those first shots, it’s blue and yellow. Those are like the two colors in his movie. Blue for London, yellow for Los Angeles. And then at some point in that opening, it swaps. And that was I thought that was a little bit confusing.
Greg: I don’t know why they swapped it, but suddenly, once Hobbs and Shaw go to a club in their respective cities to find out more about snowflake, I guess. And once they get to the club they’re going to the colors swap. But throughout the movie there is so much blue and so much yellow. It’s a lot like John Wick in that it’s super super obvious.
Greg: Yeah. The same goes for Atomic Blond as well. Very obvious color themes going on there. I loved it in this. I thought it was a bit more reserved and tasteful than in John Wick. I kind of complained about that in our last episode. I thought, yeah, they all did a great job. David Leach talked about how they would do things before the sun went down and in London, and in that time the sun was going down in like four.
Greg: His, you know, London’s on the same line as Seattle. So their winter is like our winter.
Joe: Right.
Greg: And he kind of laughed and said, Jonathan, Selah can do something when he has to.
Greg: Jonathan Selah had just worked on a Transformers movie with Michael Bay before he came to this. And so there’s some magic. Our scenes where they’re kind of ripping off Michael Bay a little bit, right in the cinematography.
Joe: I can totally see that.
Greg: Yeah, yeah. So mostly in the action. Yeah. And in the colors I definitely noticed. Oh, this is David Lynch. He’s definitely doing his thing. Yeah. And I love it. I love that we watched this movie the week after John Wick. When we first started doing this show, we tried to have connective tissue between each episode and we quickly abandoned it.
Greg: Yeah, but I love that we kind of stumbled upon that for this one, because it’s really nice to see a director. A couple of movies later in his way, hit a home run for the Fast and Furious verse.
Joe: Yeah, and I think the biggest challenge I have with the color story is when they get to Samoa and they just go developing nation heavy to me, like it’s really becomes rich, sepia toned.
Greg: Yeah.
Joe: And obviously they’re not in Samoa, they’re in Hawaii. But you know, so again, if you’re thinking you’re watching The Rundown with the Rock, you’re actually watching Hobbs and Shaw, which is match than that. So yeah. That’s always a challenge for me. And I know why why they do it, but it’s like it was it needed, you know, there was a lot of, like, sunset, sunrise shots as well.
Joe: Yeah. I can’t get game. So yeah, that’s a dealer’s choice for anyone playing at home. If you share moments in the movie when it’s either sun down or sun up and they really lean into that golden sun coming through.
Greg: Yeah, really good opening to this movie. It opens with Vanessa Kirby, who’s an MI6 agent trying to get back the only vial in existence of snowflake, this virus that they’re trying to stop from getting out. And then her crew is attacked by Idris Elba. And then after that, we go to Hobbs and Shaw in London.
Joe: Flat screen?
Greg: Yeah. Split screen in the in Los Angeles, in London. Trying to get information about that thing that just happened. Yeah. Those are the three things that happened before the credits show in this movie. All three really good. Yeah. Really well-made great scenes. Funny Hobbs tattoos I love cops on the bad guys forehead. Yeah, yeah. We’ve got our four main characters and we’re off to the races.
Joe: Yeah. And I just have to say best opening line ever for Idris Elba.
Greg: Should we listen to it?
Joe: Yeah, let’s listen to it.
Greg: And we need to kind of point back to John Wick a little bit as he’s walking not as low thunderous, but like, gosh, gosh it’s a much mellower gosh. But still there’s a guy with the subwoofer at my house. I can definitely feel it. Okay, here we go.
Clip: I63. Whoa, whoa. I’m a fan. Fantastic job. Man. I think you look amazing in your matching outfits. Who the hell are you? Bad guy.
Greg: The greatest. Yeah. Makes fun of their matching outfits.
Joe: Even though he’s in matching outfits with his eyes.
Greg: Totally. He’s in, like, a bulletproof superhero outfit. Yeah.
Joe: Black Superman is who he says he is. And absolutely. And I love that they carry that through with the movie. And I look forward to how they resurrect his character as the good guy somehow. And the next Hobbs and Shaw movie, because no one is ever really dead in these things, right? Because I am in the tank for Idris Elba, I think he’s.
Greg: 100% the.
Joe: Most, like, charismatic. He knows what movie he’s at, and you’re just like, okay, I’m having some fun. This is a popcorn movie. I’ve seen him and TV shows and other movies where he’s like, in doing the work of an actor, this is like, there’s no work here. This is just him having fun and being like Superman and running around.
Joe: And it’s probably not a very fun shoot. But his character is awesome in this, and I was rooting for his character the entire time. Like, I was hoping that he would get snowflake and take over the world and create an army of super soldiers.
Greg: So sure.
Joe: Sure, just all my cards on the table. If Idris Elba is in it, I’m rooting for him. I don’t care if he’s a good guy or the bad guy.
Greg: So totally. And I mean, David Lynch in the director’s commentary says, you know, who knows, maybe he’s not dead and he needs to come back and there needs to be a Brixton movie. I’m all in. I mean, the movie hadn’t even come out yet, and he’s already like, I don’t know.
Joe: I mean, if anyone and if you’re listening to this podcast, besides our wives who have never watched these movies.
Clip: Or.
Joe: Have seen any of the Fast and Furious movies, nobody’s ever dead ever in any of them. They’ll bring any character back for any reason. And the logic that they use to get people back into it is shaky at best and nonexistent at worst. So I, you know, it’s just like if you’ve been watching it, we know that Gal Gadot character who dies in the sixth one is back, and the 10th one, sure.
Joe: I mean, we’ll be back in the final one. Hahn, who is one of everyone’s beloved characters, dies in Tokyo Drift at Declan Shaw’s hands.
Greg:
Joe: Oh, but he’s back right there, just like. Oh, the, Mr.. Nobody saved him and pulled him out of the wreckage and, and he just disappeared like okay. So nobody’s actually dead. This is like time travel in any movie. No. Any time there’s a time travel in the universe, nobody’s actually dead. So I look forward to the Brixton movie at Brixton.
Joe: Hobbs and Shaw, you know?
Greg: Okay, we need to do a couple episodes of Joe Explains the movie to Greg. Okay. There are a few things that I. I just for the life of me, cannot entirely put into words. First off, what is Braxton’s goal here?
Joe: They’re trying to get the virus.
Clip: Right at.
Joe: Vanessa Kirby. All, Mission Impossible two has just run into her system. Sure. No.
Greg: He’s good. Randy Newton of this movie is a.
Joe: Tandy Newton character. Yep. And they’re trying to get it out and destroy it. We might have found a plot hole in Hobbs and Shaw.
Greg: Well, what is the goal of the organization that Brixton seems to be working for? Like Brixton used to be in the military.
Joe: With am I said Ethan?
Clip: Oh.
Greg: He was in MI6. Okay.
Joe: Yeah. They didn’t have my sex station kill them. So already he’s been killed once, right in the chest, one in the head, like they taught you. That’s a line from the movie, right?
Greg: Which, by the way, did you notice? That’s exactly how John Wick kills everybody in John Wick.
Joe: Oh, no. That’s how he always does it.
Greg: With three shots, two to the chest and one to the head.
Joe: All right, there’s another yeah, Easter egg for you. And then he is like an enhanced soldier. And they wanted Keanu Reeves I learned this Gillian was watching was not watching that. She was next to me while I was watching it and was doing research. And so they were trying to get Keanu Reeves as the voice of the disembodied.
Joe: Yeah, computer. Yeah, yeah. So they’re trying to get the virus, but they’re also making, like, super soldiers with enhanced.
Greg: Right.
Joe: And strength and whatever. But I’m not quite sure why they want the virus if they explain it. I missed it, and I’ve seen this movie enough times to have probably seen me.
Greg: Yeah. You just kind of by it is like, okay, well, he he’s the bad guy. Yeah. Else do we need to,
Joe: Yeah, let’s do it. He says it right there in his first scene. I’m the bad guy. I’m coming to get this, and they’re trying to stop him.
Greg: Idris Elba is trying to be more than just bad guy. He was trying to bring more shades to it. And so they do a little bit. They show that he has some humanity to him, but that kind of side of it really kind of largely fails in my mind.
Joe: Yeah, it’s pretty much the virus is in Vanessa Kirby. We’re trying to get it out of her before her. You know, insides liquefy and everybody else is inside, like, all right. Yeah. And the bad guys want it probably so that they can hold the world for ransom. It’s a programable virus that they never really get into.
Greg: Oh, okay. So they can, once they get it in everybody, they’re trying to, like, increase the rate of evolution. There is a moment where Idris Elba tries to explain this to Vanessa Kirby because Vanessa Kirby says, she says something like, do you wash the blood off your hands before you count your money? Or do you just count the money with blood on your hands or something like that?
Greg: And he pulls her aside and explain something to her. It’s a very bizarre scene. Let’s listen to it.
Clip: You know, get it? Do you know the week deal with money? We deal with evolutionary change, changed us, sometimes require acts of violence like killing innocent people with ours. Only the weak ones. We’re dealing with the future of the planet. Things that money cannot buy. Oh, like you’re so back. We’re so. Your brother took my cell. The boys in the lab made me a new one.
Clip: And that’s progress.
Joe: It doesn’t help.
Greg: No, it doesn’t help us at all. It’s just like he’s. It was like every time I watch this movie, when he says that, I’m like, okay, so just bad, bad stuff.
Joe: Yeah, yeah. Bad guy.
Greg: Yeah. Bad intentions. But also like he and Jason Statham are sort of intertwined. It does make me think about The Bourne Legacy, though, because this is a bit of a sci fi movie in that there’s like this mission impossible to ask. Chimera. Yeah, that is apparently like a little metal things in your bloodstream that are.
Joe: The blues and the reds from.
Greg: The. Yeah, the blues and the Reds. Right. And so it’s kind of like, oh, you know, Fast and Furious. It’s usually pretty homespun, pretty homegrown. And and same with Bourne Identity, Bourne Supremacy, Bourne Ultimatum. And so it is a little bit more sci fi. Yeah. Yeah. That side of it I wasn’t super into. When you talk about how futuristic the bad guys seem to be, like, they’re not writing regular motorcycles, they’re riding motorcycles that are Transformers that can kind of like, read your mind and do whatever they need to do when you’re like going underneath a moving semi.
Greg: Yeah. And all of the vehicles, the bad guy vehicles have like yellow lights, like mini LED yellow lights, like a bunch of them on the left and right inside. That’s how you know, all of their guns make weird feature gun noises. Very kind of sci fi in a way. What was your take on that?
Joe: I like sci fi more than you do I think. Yeah. So I like that piece of it. Okay. I agree that they don’t do a really good job of explaining why.
Greg: Yeah maybe they’re from the future.
Joe: Yeah. And then just for future people trying to take over the world. Yeah. Don’t have guns that are programable because then you have the good guys turning off all of your guns, and then you get beat up by Samoans with basically sticks. Yeah, that’s that’s it.
Greg: Some of the sticks have like, auto body parts on them.
Joe: Yeah. So there’s some welding that happens or there’s like, you know, metal poles and stuff like that. But that’s where the movie lost me.
Greg: Okay, okay.
Joe: When we go home to Samoa. Interesting. I loved that it just like fell into trope land. Yeah. He’s coming home. And then we got to fortify. So we have the battle that’s coming. And so they have the montage of them setting up right for the impending battle, though.
Greg: Solid montage.
Joe: Though solid montage, like the.
Greg: Amount of slow motion systems that happen in that montage alone.
Joe: I’ve added a new trope as well. Awesome. Conversations that happen right before the battle.
Greg: Yep.
Joe: So you have like, tying everything that if we make it through this right type of, you know, I.
Greg: Love it, I love it.
Joe: Why didn’t you come home while I’m home now, right. You know, right. Tying up the loose ends, like. And if we make it through tomorrow, we’ll see what happens type of stuff. But so I love that part. But like, when we got to, I was like, I am still confused as to why we ended up in Samoa. Yeah.
Joe: And also why the bad guys want this. So like there’s a, there’s some. Maybe we should get there right around the room.
Greg: Well, Vanessa Kirby injects herself with Chimera. I’m just going to go with my possible to language on this one. She injects herself with Chimera at the beginning of the movie so that no one else can get their hands on it. Then they need to get that out of her body within 72 hours or she’s going to die.
Greg: So she’s walking on the metaphorical cliffs in front of the ocean, just like Tandy Newton.
Joe: Waiting for the helicopter to come up with Tom cruise.
Greg: I mean, we all are. We. Yeah. And so then there’s like two ways that they can get this stuff out of her. One is she can die or there’s a machine. And I think, like the machine and the machine breaks, and.
Joe: The only people in the world are.
Greg: Like, there’s only one person in all of not even just la. There’s a there’s only one person in all of planet Earth that can fix this.
Joe: Let me check. I got to check my notes because they do say there’s another. There’s only one person line in this. And I just was like, oh, so good.
Greg: Just like the of math and Fast and Furious.
Joe: Yeah, exactly. Oh, he says there’s only one place in London that sells that.
Clip: Get out of here.
Greg: Really, I missed it.
Clip: Yeah, attack is hard to find, but I think I got a hell of a leak. Russian newspaper. I’m just only on paper. It’s only one place in London. The cells that killed people.
Greg: So, I mean, there are aspects of the Fast and Furious that I just obviously adore. And I love that they’re bringing it in. And then there are other times where I’m like, yeah, we didn’t need it, guys, but it’s probably not Hobbs and Shaw. His fault is probably just that there’s been a few more of these movies, and I’ve grown a little bit tired of it.
Greg: This is the ninth Fast and Furious movie.
Joe: Yeah, one of the other pieces I was, I had a open question mark. So we we kind of know about Declan Shaw and Jason Statham character’s backstory. Well, from.
Greg: Have we gonna need you to explain that to me later, but go ahead. Yeah.
Joe: So apparently he was former MI6, and I feel like there’s like a sell the bad guy in fast seven when they kind of talk through who he is. Okay, so he’s former MI6 now, part of a criminal, and his mother is in jail. Right? Helen Mirren, for whatever. We don’t know. I don’t think they even really mentioned why she’s in jail.
Joe: So they have run a criminal empire, and yet somehow his sister is allowed to be in MI6. And if you don’t know about MI6, that’s like the CIA. Wouldn’t that be a conflict of interest to have your brother and your mother are part of a criminal empire, and then you, as the sisters or as slash daughter are allowed to just be in, am I right?
Greg: And you’re forgetting about Owen Shaw from Fast Furious six?
Joe: Yeah. Who is also a bad guy.
Greg: Right. So, brothers and mom. Yeah.
Joe: And they don’t really mention Owen in that with the flashbacks that they show of the childhood when they’re running, they’re Keith Moon. Right. So I like Jagger. I watched the other movie.
Greg: Do they watch Ocean’s 11 and know that they call this things? Yeah, it’s just a clear rip off of Ocean’s 11 naming like scams after famous people.
Joe: Yeah. So that was it. And obviously this is like the fifth time I’ve seen this movie. So just noticing these things now, either it’s an indictment on that’s a win.
Greg: So that’s a win for Hobbs John.
Joe: Yeah exactly.
Greg: That means it doesn’t catch if you don’t catch it by the third, you’re good to go.
Joe: I mean and that’s what we have. Like there’s the Hobbs and Shaw like logic of travel. And then there’s the fast and furious logic of relationships.
Clip: Sure. Yeah.
Joe: Where, yeah, you can be bad and do terrible things, but if you just kind of make a change and turn yourself around.
Greg: Man in the mirror.
Joe: We will forgive. Yeah. Everything you’ve done up to this point.
Greg: So and there is no better example than Declan Shaw, who at the beginning of furious seven murders everybody in a hospital.
Joe: Yeah, in a hospital.
Greg: We’re good, we’re good.
Joe: Kidnaps a baby, right? Oh, no. No, he saves the baby.
Greg: That’s that’s what we’re saying.
Joe: That’s right. Yeah. That’s right. Charlize Theron kidnaps the baby. Sorry.
Greg: How dare you, sir?
Joe: My bad.
Greg: And that scene in The Fate of the furious with Jason Statham is potentially. We’ll look back on as peak Statham. It is everything that he does. All of the magic boiled down into a fine reduction. He’s funny, he’s endearing with the baby. He’s just beating everyone up. It’s on a plane. It’s basically John Wick on a plane with a baby.
Greg: It’s just so incredible. It’s so good. We will get to The Fate of the furious.
Joe: These movies are amazing. I mean, I don’t know what to say about them other than here we are.
Greg: I’m really trying not to drag this episode down into us talking about all of the other movies, because we’re going to get too many of these films on this show. So yeah, we’re actually doing kind of an amazing job only talking about Hobbs and Shaw.
Clip: Yeah, for us.
Joe: I feel like, should we give him, like, foreshadowing? Like we will be doing fast five this year? Just don’t wait. Don’t worry.
Greg: Absolutely. We have chosen a very special episode for our fast five episodes, so we will be getting to fast five. Not in the way we usually say it. We will actually be getting to fast five pretty soon.
Clip: That’s right.
Joe: And a very special, very special episode. Great. That is so.
Greg: Special to us. And yeah, there’s nobody else here.
Joe: Right?
Greg: Okay, so what is the deal? How do they turn Declan Shaw into a good guy? Obviously he saves the baby. And that was the baby of Vin Diesel and Fate of the furious. So he did a good thing. But how are we misunderstanding him? When he murdered everybody in a hospital?
Joe: And before we bring John back.
Greg: Murder is harder, son. That’s right, that’s right.
Joe: It’s tough. It’s a little bit of. It’s a it’s a hard Lee. Because why I love John fast six is the end of the golden run of the Fast and Furious movie. Fast seven is really good. He’s the bad guy in that. Yep. And he’s really awesome in that. Then he’s locked up with Hobbs and they have to escape from prison.
Joe: That’s how we kind of get them as they’re like, right?
Greg: And how many people nowadays do they do they kill.
Joe: Like all of them? Okay.
Greg: Sure.
Joe: I mean, maybe someone survives, but they’re probably, you know, walking with a limp for the rest of their life. Right? It’s a rough character transition. But in Vin Diesel’s world is all about family, and he’s saved his family. Totally. What it’s also making me need to realizing is I need to start. I need.
Clip: To watch Fast and Furious.
Joe: Seven, eight, nine, and ten again because I don’t remember all of the plot points needed right now. But what I will say is it doesn’t make any sense. And it’s perfect.
Greg: Yeah, yeah, basically, just go with it. Statham isn’t Shaw, Statham is Statham, and the Rock is not Hobbs. The Rock is the rock. Yeah, we do a thing in my family where whenever we say Dwayne The Rock Johnson, we change his first and last name, but always keep the rock the same. I don’t know how this started, but at some point we started where we’ll say anything.
Greg: So it’s like Stephanie the Rock dingleberry. It’s always some strange first name and some hilarious last name. Jermaine the rock conjugation I mean, just like we just it’s like whatever you think of in that very second. And so, yeah, my kids and I do this all the time. So how about you? What would you what would you call the rock if you, if you played the Greg’s family game.
Joe: Would be like, Harold the Rock calliope or lava like that? Perfect.
Greg: You know? Okay, we need Sam, our editor, to put in his what would he call the rock right here?
Clip: First thing that came to mind, Declan, the rock sneezer,
Greg: Nailed that, nailed it. Perfect. The rock, by the way, David Leach in his director’s commentary, he just kind of said he’ll show up an hour late, like they’re scenes in this movie that were filmed because the Rock wasn’t there yet. They’re like, well, we’ve got everybody here. Why don’t we just make up something? And he never says it in a negative way like they have with, you know, red wine coming out.
Greg: Apparently he showed up playing, but it’s he’s so naturally funny you don’t realize it until you turn the cameras on that he has been super, super, super funny in so many movies.
Joe: He even says it in the line, like they try to, like, not have on board the plane with them when they’re going to. Right, right. Yeah. And so he gets on the plane and he says, oh, I have something that you don’t have. And so I’m likable. That is the Rock’s brand. Yep. He is likable. Yeah. Nobody’s ever going to confuse him for like an amazing actor or, you know, he’s pretty much the same in all of his movies.
Joe: A little over the top. Sometimes it hits, sometimes it misses. But it’s, you know, it’s the rock. But he is, as you say, charming and likable. And that and.
Greg: Funny.
Joe: Goes a long way and funny, you know? And so if you’re if you’re likable and funny, it just shows you how far you can go with these sorts of things. So I might be funny, but maybe not likable. Maybe that’s why I’m not the Rock. I don’t know, might be too far. I work on my with my therapist.
Greg: I have some goals there. Yeah.
Joe: Hashtag goals. Yeah.
Greg: So I wanted to say, when you were talking about the color palette of when they go to Samoa, which is kawaii, it’s a little bit too vibrant. I think it’s vibrant just because that place is ridiculous, you know, and you go to Hawaii. There’s David Lynch in the commentary says something like, that’s all in camera. There is nothing that we’re doing to that image.
Greg: That is just what it was like to be there. And it was incredible for a couple of weeks. But also it was immediately after the nuclear reactor car chase that happens, which was the most desaturated, you know, scene in history. And a real weak point for this movie in my mind. Agreed. I mean, everything that Idris Elba is doing is CGI, and apparently the special effects people were able to turn around these like 20 week scenes in ten weeks.
Greg: He’s like, you wouldn’t believe how fast people were getting stuff to us for this to really make it happen. It’s like, well, it looks so fake and not like the rest of this movie. You know, like the car chase that happens in London is incredible. Earlier when they’re in the McLaren, by the way, how often do they show.
Joe: So many.
Greg: Kind of a car in this movie? It’s incredible. But the one outside of the nuclear towers and like, they’ve just blown up a three mile area with like, decommissioned nuclear towers.
Joe: Yeah, lots of that. Like so many of.
Greg: What on Earth where they think, yeah, why would you do that? That is the least thoughtful thing you can do.
Joe: Yeah. Where that at least six towers, maybe more as they’re like, yeah, yeah. Somehow find a jet right to parachute into.
Greg: Oh my gosh. Yeah.
Joe: That’s so good.
Greg: That area. But they’re actually filming in north of London. Those were real stacks. So it’s all like just super desaturated. Probably because I don’t I was London and it was cloudy and they’re having trouble matching the colors in the light. But it looks pretty rough. And I think you could actually cut that whole scene and be all right.
Greg: But then, you know, it reminded me of it looked like that movie, Death Race. Did you ever see Death Race 100?
Joe: Have I seen Death Race? How dare you!
Greg: With Statham, that was a very desaturated movie as well, if I remember right. Yeah, definitely got Death Race vibes from that because it’s like future vehicles and whatever.
Joe: Yeah, Death race, which is, trying to make a good B movie. Yeah. Or C movie basically. Yeah. There are some really good actors in that too. I think there’s what’s his name from John Wick is in there.
Greg: Ian McShane.
Joe: Yeah. Ian McShane.
Greg: Gibson. Speaking of Fast and Furious, we got Jason Clarke. Okay. So how do you rate Death Race, our scale for death Race is Fast and Furious six to Hobbs and Shaw. Where do you place Death Race in that scale? Doesn’t need to be beat. Doesn’t need to be between.
Joe: I think it’s a little outside.
Greg: Because okay.
Joe: Fast six is amazing.
Greg: Yeah. Oh, is there a Fast and Furious movie that Death Race is better that.
Joe: Oh for sure there is.
Greg: Okay.
Joe: Oh yeah. To me it’s better than anything past seven really. It’s a tight movie. Yeah, there’s no frills about it. It’s convicts driving cars while people bet on them.
Greg: We’re talking about the remake of Roger Corman’s movie that has Jason Statham in it. Yeah, so not the original, but the remake. Yeah. What we’re talking about. Right.
Joe: The remake. Yeah. And I think it’s a solid remake. Yeah.
Greg: Joan Allen is amazing in that movie.
Joe: Yeah. John Allen yeah. So it’s it’s a great B-movie of what it’s trying to do. And so to me, intent and like execution go into it as well of what they’re trying to do. And so they do it really well. Yeah. And like if you said do you want to watch Fast eight or Death Race, I will take Death Race.
Greg: Out of here. Incredible. Yeah, man I have all kinds of feelings inside right now. And I don’t know, I might agree with you. And I never would have thought that I would agree with you, but I might agree with you.
Joe: I think maybe nine, because we had Justin Lin coming back.
Greg: Yeah, yeah.
Joe: There are some fun parts in that. I would take that race over ten to accept. If you take out Jason Momoa, his character in that so race, Yeah, yeah. I guess surprisingly as I think about it, death races.
Greg: So when I say my least favorite part of this movie reminded me of Death Race.
Clip:
Greg: That doesn’t I.
Joe: Was like I’m on land.
Greg: But we also agree that that’s the point of the movie where I kind of like that is definitely a fast fordable part to me.
Joe: I agree, I think what happens there is they really go crazy with, CGI.
Greg: Yeah.
Joe: And so while it’s really evident also in the car chase scene, it feels a little more grounded of where. And they’re like driving on walls and driving. Right, right. Just all over this place in Russia.
Greg: Yeah.
Joe: It just feels like I’m watching a CGI fest at that moment instead of being kind of grounded in the moment. And it’s cool. There’s some nice stuff in that. Yeah, but I just I don’t know if you’re like this, but I really appreciate real stunts.
Greg: Yeah.
Joe: Versus. Yeah, just oh yeah, we can just we’ll put a green screen. I don’t even know. I mean, it’s just like basically them sitting in a car with probably green screens all around it, saying their dialog. And then the rest of it is just CGI is what it feels like.
Greg: I think that is definitely what it feels like. I think the like, whatever you want to call that vehicle that Statham is driving that seemingly can kind of like be up on a wall was a real vehicle that they made for the movie, and there was a real effort in this movie to do practical stunts and then have CGI madness around it so that it is sort of rooted in reality.
Greg: But I think something that didn’t work out in this movie is they’re constantly ramping the speed where it’s slow and then it’s fast in those action scenes that I know that some of that is real. A lot of that is real. Like if a lot of the vehicles in this movie are truly on the screen, doing the things that we see them doing, are people flying through the air or whatever is actually happening, but they’re ramping the speed and making it crazy that it’s like, oh, well, now it’s kind of weightless and this must just be bad CGI that they rushed.
Greg: So I think some mistakes might have been made. I think incredible people were doing incredible things. And in fact, the editor of this movie was is a super legit editor. But a lot of the speed ramping that they did slow to fast, fast, slow stuff like that, it really makes it feel a little bit fake. There is a moment at the end when they’re in Samoa, and there’s some shenanigans going on with like a crazy scene, David Leech says.
Greg: Shot to shot what’s real? And it’s more than you think. He’s like, this is all in camera stuff that’s really happening. This is a little bit of CGI right here, but it’s not at all what you think. So we’ll get to that in a bit. But I have a feeling like certain things cheapened this movie, and we kind of write it off as viewers, but like, that vehicle really was able to like climb up on walls and stuff to the degree that interest.
Greg: Yeah, I.
Joe: Think this is where seeing things on like in the theater versus like I watched this on my laptop.
Greg:
Joe: Even if you have a great frame rate and yeah, you know 4K TV and all of that stuff, it still it’s not going to translate as well when you have the sound and you have.
Greg: Yeah the.
Joe: Perfect. Yeah screening of it. Whereas this sometimes and I remember like especially when I watched this on a plane like I’m watching it on this Monday as I scroll. Yeah. This is as you see every CGI. Yeah. Everything that they’re kind of putting it around the edges of it. And so there’s this cartoony feel that kind of comes through.
Greg: Yeah. Especially with the motorcycle. Transforming stuff. Yeah. It doesn’t feel real.
Joe: It loses something for me.
Clip: Yeah.
Joe: And that whole scene like I agree you could cut that scene basically out of this movie and still have almost the same movie. Yeah. Like I know that they wanted action scene there and there are some fun moments within it. Yeah, but it just falls flat like that’s where it drags. When they go, they get to Russia and it just I’m like, I don’t want to go through this.
Clip: Right.
Joe: And so I’m trying to I’m trying to think of like, what would be better there? You know, it’s like a less is more like, could you have cut that down? I don’t know, it’s one of those moments where that’s where the movie loses it. For me. I would have been fine having another action sequence that gets us to Samoa.
Joe: But that scene, it’s kind of that scene ruined the movie in a lot of ways for me.
Greg: Yeah.
Joe: And so it’s like how do you recover from that. Well anything after that is kind of now tainted by that scene for me. Right. That’s where I struggle with this movie. And there’s some fun stuff in it, like the torture scene that they have where they’re both chained up, and Idris Elba is like the shocking, yeah, I’ll say this because I’m a bad person and you know, and but like, hold up, are you anti-torture?
Joe: I’m pro torture. And I was like, just kill him right there.
Clip: Oh yeah. No.
Greg: Oh you’re pro Idris Elba.
Joe: I’m pro Idris Elba in that scene. And he’s funny in that scene.
Greg: Like I love him. They’re kind.
Joe: Of funny. Yeah. Yeah. No. Yeah. So that scene like there are some scenes that are stitched together in there that make it work. But that whole like the driving.
Greg: Yeah. Through the warehouse driving. Okay. Not bad. And then when they get out of the warehouse, it’s especially bad in my mind.
Clip: Yeah, yeah.
Greg: Totally agree with what you’re saying. They actually did cut that down. It was supposed to be a big fistfight. Once Idris Elba gets to the flatbed truck that they’re riding on. There was a whole effort in this movie where. And what David Lynch talks about quite a bit is I don’t want the story to pause so we can have an action scene.
Greg: I want the action scene to actually progress the story, much like in musicals, you know, musicals is sometimes like, all right, well, we have all the plot points we need. Now let’s make a song about it. Like the best musicals actually progress the plot through a song. And he said all we needed to know story wise from this scene was that Idris Elba is unbeatable, and that Hobbs and Shaw can’t beat Idris Elba on their own, like, individually.
Greg: Right. And so there was like a whole thing that they had choreographed and then they just realized, now we just really need Idris Elba to knock both of them down pretty hard. Like, oh my gosh, this guy really is kind of going to beat them. And then, you know, they escape. So they cut it down to that. So I bet he’s like Will you already cut it down.
Greg: What do you guys want from me? It’s like, well, the second you leave that place, the movie looks like Death Race in a bad way. But I need to say in a bad way, and.
Joe: Yeah, yes, you do.
Greg: I mean, the initial cut of this movie was like two hours, 45 minutes. This one is like 220. I want to say.
Joe: Yeah.
Greg: Is probably an amazing hour 50 long movie. I don’t know if we can have all the stuff that we love in it and have it be that long, but I’m pretty sure we could.
Joe: Yeah, yeah, I’m trying to think of what I could cut. You can cut Eiza Gonzalez and her whole that whole scene out of it. Sure. I get why they they’re in that. They’re trying to show how they how they get by. Like, there’s so much the leaps that you make and these sorts of movies.
Greg: Yeah, yeah.
Joe: Where they could have just basically been riding in or dropping in or whatever into that compound, and you could have probably cut that scene down. I even feel like because that scene, they’re even like when they’re fighting the in the different hallways down with the biometric scanner at the end. Yeah. Like, do you need that? If you could have even tightened up that scene and still had like the big kind of chase at the end, I think it would have been better.
Joe: But it just like we hit this drag point of like we’ve just had this amazing chase that comes out of a building on to the ground, and then we have a car chase with a motorcycle that can like, you know, transform around. Right? And I know it’s CGI and it’s still right. Beautiful. And then we kind of like okay now we got to catch our breath.
Joe: What are we going to do. And then it just like grinds to a halt. So I don’t know that I have a better option at the moment off the top of my head.
Greg: Well we’ll get to how would you fix this movie.
Joe: Yeah, I’ll save that for the ring when we go. Okay?
Greg: Okay. Wait a be nothing in the ring this whole time.
Joe: I know we’re in a professional wrestling game where we’re just outside the ring, hitting each other with chairs.
Greg: That. This. This is all pretty fun.
Clip: Yeah.
Joe: I’ll all for fun.
Greg: I did not realize we were tailgating this entire time up until now. Yeah, I do want to say that the rock just being the Rock is awesome. And we got to this a little bit in the rundown, but the rock is just naturally funny. And when he says like when he says, it makes me laugh every single time he said that in the rundown and little Rock isms come out in this movie that like, like this one right here.
Clip: We already have 2000 agents. Don’t you talk back to me opening up,
Greg: All I need.
Joe: Yeah, not this guy thing to. That’s become an inside joke in our house. By the way. Has not. This guy is fine too.
Clip: But, So. Oh, my.
Joe: God, they’re watching the rundown. If you don’t know what the hell we’re talking about.
Greg: I mean, I’m not above it. We might get to the rundown again.
Joe: Yeah. Where’s the rundown? Two. For God’s sakes, Peter Berg, what are you up to?
Greg: Rundowns and the essence of dollar sign. Go for it. Let’s do it.
Joe: Done.
Greg: I have to say, because this is one of my favorite things that happens in movies, there’s a moment where the scientist who came up with Chimera, who came up with snowflake, he gets in his car and turns on the lights to his car, and Idris Elba is in front of the car like they’re to, like, kidnap him. He has the loudest headlights in car history.
Greg: This is the scientist getting in his car and turning in his lights. Listen to what this sounds like.
Greg: There’s like, metal hitting metal.
Clip: And he turns on his lights.
Joe: I think we might need the added trope of, this where things that don’t have sound that do have sound effects and movies.
Greg: Loud lights is my favorite kind of light.
Joe: This is the shades of Black Widow.
Greg: Totally shades a Black Widow. Totally.
Joe: Oh my god, that’s so awesome. It should be noted that the car is getting into it from like the 1990s. It’s like a, you know, Mercedes from the 1990s that got to get into and then the the lights make that noise.
Greg: I’m 100% okay. I just have one other funny thing that I want to play when the Rock and Vanessa Kirby are fighting, she pulls a move where she, like, I think she like, jumps off a wall and turns around and kicks them a couple times midair, kind of Crouching Tiger, Hidden Dragon style, and then, like, gets them in a headlock and says, bet you wish you hadn’t underestimated me or something.
Greg: Yeah. And he says something that made me laugh out loud.
Clip: Duh. Oh, but yeah, this isn’t like, easy. I mean, I wish a lot of things right now.
Greg: I wish a lot of things right now. I wish they were just allowed to say the funny things that they’re thinking as they’re making it. And I feel like the magic of David Leach is he’s like, upset. That’s hilarious. Let’s throw that in there.
Joe: Yeah, let’s try it. And if it doesn’t work, we won’t use it. But if we don’t.
Greg: Totally.
Joe: Yeah. That fight scene is awesome. It’s a fun little fight scene between them. Right. And it’s funny. And he is. Yeah. That moment is. Yeah. It’s really funny. She puts her helmet on. That was oh I was like, you know you’re watching a David Lynch movie when she like puts her helmet on her bike, helmet on to like fight game.
Joe: Right. And then her wig comes off when he holds on to the helmet. Right. And so he.
Greg: Catches her because they reverse all of the city cameras to show me the area of town where cameras don’t capture everything on the streets. And that’s where he goes to. And she’s there like Atomic Blond by wearing wigs and. Well, how is she dressing. She’s dressing in disguise and it’s just killing. Yeah.
Joe: Yeah. Like a jacket and a hoodie. Right. And a like.
Greg: A red and a red dress. I want to say.
Joe: Yeah. Something like that.
Greg: The thing that we find out character wise from that fight I guess, see, this is like me trying to figure out what they’re thinking when she’s fighting them. She hits them with her helmet. I think she had some with something else that she finds. And that’s also something that.
Joe: Already she throws a battery on him. She hits him over the head with like a bottle.
Greg: Yeah, yeah. And that’s exactly how Jason Statham fights in this movie. Her brother, like he picks up a toaster at some point. He’s picking up stuff and fighting people with those things. The lightest toaster in history apparently has some real impact, and some stunt guys.
Greg: It’s so obviously not an intimidating toaster yet it’s really taking these guys out. That’s hilarious. Yeah, so they’re telling the story, I guess that they fight similarly. Yeah. This is the joy of doing this show as we get to think about these things.
Joe: I mean.
Greg: Okay, speaking of things, we were talking about, you know, coming up with jokes that are in in the movie, I’m sure they filmed a million of them and kept some in and not all of them. One that was in, then it was out, then it was in them. Was out. Was this when when Jason Statham takes Vanessa Kirby in the Rock back to his London layer and there’s like a whole garage of cars and one of them is a little mini.
Greg: So here’s what happens here.
Clip: And a teeny tiny one. And just your size.
Clip: Isn’t it for a job over in Italy? And we didn’t need a weightlifting bus driver to give you a call.
Greg: They reference the Italian job. Yeah. Classic. Great bad movie. The Italian Job with Marky Mark, Charlize Theron, directed by F Gary Gray. Is that right? Who did fate of the furious?
Joe: I think so, yeah. That movie. We will for sure.
Greg: We will for sure. Get the Italian job. Yeah. What do you think of this? The Italian job of mixing with the Fast and Furious verse.
Joe: I am all in, like, let’s cross over as many of them. If we could have ever have, like an Audi from the transporter in there somehow to just bring it all, bring it all together for me.
Greg: Totally like some of these kids in the backseat from the transporter to still just hanging out, waiting to go to school.
Joe: Exactly. Saying, isn’t this the birth of the plot for a man on fire? And no. Up up up up up up up. Yeah. Sorry. Sorry.
Greg: I loved that they did this. And this is them just messing around. Like we’re just going to throw this in. We mean nothing by it. We can just have fun. This is exactly like the fall guy. David Leach is just like, can we have fun? And I’m I’m here to say yes. Yes we can.
Joe: Yeah. I think that’s what I appreciate most about him is he’s I mean, he’s obviously a stunt man. Coordinator second unit whatever coming up. Yep. So he’s he loves putting that front and center and then just having fun with it I mean I think and we haven’t seen and I think I said this in the John Wick episode, but we haven’t seen Chad’s talent.
Greg: To help.
Joe: Guys do anything outside of the John Wick of. Right.
Greg: Yeah.
Joe: But David Leach definitely has a sense of humor that he brings into all except for Atomic Blond and John Wick. All of his other movies have. They’re funny and that that kind of runs through them. He also reminds me a little bit of Guy Ritchie a little bit, and how he directs his movies, where they’re kind of fun, characters are funny, and then you kind of have.
Joe: I think he he has better action sequences than Guy Ritchie and Guy Ritchie tends to be a little bit more kind of in that British underworld. It’s kind of how I would describe his movies, but he’s also worked with I mean, that’s where I first learned or saw. Jason Statham was in probably Lock, Stock and Two Smoking Barrels and then that match.
Joe: Yeah. And so I think that there’s a lot of similarities in their movies and kind of how they look and the look and feel of them and the kind of the, the sense of humor that runs through them. I prefer David Leach’s I think sometimes one guy, Ritchie, almost never put two women in his movies. And if they are, they’re like way, way in the background.
Clip: Yeah.
Joe: But I think that there’s a lot of similarities, kind of look and feel of their movies, and I appreciate that and I do. I love David Lynch movies. Like I will watch every single movie. He does. Absolutely. And now until I can’t watch movies anymore, basically.
Greg: So like, this movie is incredible. This movie has some things that I would like to change, but I still feel a little bit bad that our show is called Great Bad Movies today because come on, we can have fun.
Joe: Yeah, we can have fun. But I mean, to me, this was Atomic Blond, his first one that he did by himself or wasn’t.
Greg: No Deadpool 2 or 2.
Joe: So he’s kind of attached himself to other other movie franchises, but he starts to get to do his own with Atomic Blond, Bullet Train and The Fall Guy. Yeah. And so when he’s not beholden to, like, the universe that’s been created, you kind of get to see him push the boundaries of what he wants to do. And so I appreciate that.
Joe: And I get, you know, Deadpool two is is a really funny, great action movie. And so is this. But I think those are probably of his movies, the bottom of the list if I’m ranking them and it’s still a high floor, like, I don’t want to like, like if I’m ranking all of his.
Clip: Name.
Joe: Off the top of my head, Bullet Train might sit at the top. Fall guy, atomic blond, Deadpool on this one are probably. And then John Wick is obviously in its own category because he co-directed that, and it’s the greatest movie that’s ever been made.
Greg: Right. And we are still technically in January.
Joe: So yes, I will.
Greg: Not speak ill of John Wick in this month.
Joe: That’s right.
Greg: Or any or any my. So I agree with you there. Like let leech be leech. Obviously what’s interesting about what you said though is that the bottom of your list or his two most profitable movies. So I can see why you might want to be involved in a sequel.
Joe: And it’s one of those like pretty classic for up and coming directors to get attached to.
Greg:
Joe: Yeah that’s true IP that is already established. Yeah. And so Christopher Nolan famously doing the Batman movie and then Mendez coming in to the James Bond world you know. So it’s like kind of classic Hollywood to take a up and coming director or an indie director and bring them into the mainstream through this.
Greg: This means I’ve heard the term director proof when it came to how studios think about movies, is a movie’s concept and kind of the way it’s set up with the actors or whatever is. It’s so good that it’s director proof you could bring in anyone that’s kind of what is in their best interest. And so, you know, Deadpool two is probably a bit director proof, but then he made it so, so, so much better with Ryan Reynolds.
Greg: You know, the action scenes. I don’t want to speak ill of Tim Miller because we both liked Terminator Dark Fate quite a bit. We also both like Deadpool quite a bit.
Joe: Yeah, the first Deadpool script.
Greg: Yeah, but Deadpool two is better. Probably better than Deadpool one. And David Leitch did that for us. For them. Yeah. So you know David Leitch stepping into a spot that’s like a director Chris IP. And then David leeching it. Yeah. Best case scenario for everybody after.
Joe: Yeah especially us.
Greg: 100%. Do you remember when we did the shooter episode and Anton Fuqua spoke about kind of what the whole movie was about? And I played a little bit of the director’s commentary, and we kind of questioned whether he really accomplished what he wanted to do with that movie. He also questioned it as well a little bit. Well, something kind of similar happened in the David Leitch commentary for this movie where he talked about the very beginning, what he was trying to do with this movie, and I thought it was really interesting.
Clip: Everyone in this movie is kind of estranged from people they care about, whether it’s Shaw with his sister or Hobbs with his brother, or even Idris and Jason’s character and their past brotherhood. And they were brothers in arms. I guess the idea is that it shouldn’t take global stakes to reconnect with the people that you care about, and that was sort of the bigger theme.
Clip: On top of all this crazy action, you’re about to witness right now. Blam!
Greg: That was right as Idris Elba was coming in at that, in that very first scene in the movie. I love that he did this. What do you think?
Joe: I love that he did it too. And I feel like this lands a lot better than Antoine Fuqua is kind of explanation. If you want us to go into a deep dive, listen to our other episode.
Greg: We did that on Shooter Forever. Yeah.
Joe: But I mean, I feel like this shows a director that knows what this movie is. And like, there are some themes that he needs to hit with the characters and also knows that this is an action movie and that’s what we’re here for. You know, I’m not watching Hobbs and Shaw because I am first and foremost wanting to see, you know, a tale around the, you know, how people are separated from each other and reconnecting.
Joe: I’m watching a David Leach, Hobbs and Shaw movie because I want to see some cool ass action shots.
Greg: And fam, and.
Joe: That’s what we get. And family. And we also get these other themes that kind of run through it. Yeah. Which I appreciate so totally, you know, he hits the tone of this movie perfectly and understands what it is. You know, it’s like you got to have this. But also I want to see crazy stuff. I haven’t seen another movie.
Greg: Totally. Yeah. I’ve heard songwriters say that the more universal a truth that you’re writing a song about, the better you know, the more people will connect to it emotionally. This is a super universal truth. We should be connecting with people, and we shouldn’t have. Global crises drive us to reconnect interpersonally with the people around us, or with people that we disagree with.
Greg: This is like catnip for me. Obviously, this is like my whole M.O. as a person, but I really loved that he did it. And he actually circles back to this at the end of the movie when they’re in that final fight scene with Idris Elba. Their helicopter has gone down, probably have like a whole Samoan action scene to go to go over.
Greg: But cutting to the end of it, they fall down and have this final action scene, and they’re learning that they can’t individually fight Idris Elba. But if they fight him together, which is kind of the whole point of the movie, they can have more effect. And they say something like, if I take a punch so that you can land one, I’m fine with that.
Greg: And they both agree to that, and then they have this like super slow mo fighting in the rain scene. What did you think of super slo mo punches at the end of this movie?
Joe: I wanted to hate it. I really did, and I loved every second of it.
Greg: I mean, hate watching isn’t so bad for a great bad movie either. So it’s a win win. Really.
Joe: It was a win win that was like, here we go. And then they did it. We’ve seen this scene, you know, a million times.
Greg: The summer before in Mission Impossible six. Yes.
Joe: Or, you know, just fighting in the rain fight or whatever.
Greg: The end of John Wick, our last episode.
Joe: So this is, you know, this could be a trope in and of itself, but I loved I loved every second of it, even though I was rooting 100% for Idris Elba to, like, throw them off the cliff and win.
Greg: That’s amazing. Okay, so play this out for me. Idris Elba wins, Hobbs and Shaw and Vanessa Kirby all thrown up.
Joe: For Vanessa Kirby is probably. Yeah, the snowflake virus is extracted and then she’s thrown off and then into the ocean. Into the ocean. And then like a helicopter out of nowhere. So that one helicopter. Yeah. Picks up Idris Elba and he goes back to the wherever bond the layer villain plays with the virus.
Greg: Sure. So Kitty. Yeah that’s incredible. And so then what happens in the Fast and Furious verse? It’s all over and it’s just Idris Elba. From now on it is okay.
Joe: Basically half the world dies. Super soldiers are everywhere. It’s all right because Idris Elba is, you know, part of the part of the solution I.
Greg: Love it, I love it. In retrospect, that’s probably what should have happened after the ninth Fast Furious movie.
Joe: Exactly.
Greg: Yeah I agree, we hadn’t seen it in a while. Like the super slow mo punches. Apparently the actors were surprised that the rain wasn’t going to be CG. It was real rain. And there’s actually CG happening all over with these punches, these slow motion punches. But they were really in on a set with a rain machine forever.
Greg: And they were a little surprised that that was what was going to happen, because usually it’s just, well, it’s going to be CG rain, right? Yeah. Not in a David Lean’s movie.
Joe: No. That scene you can kind of tell you, I mean, you can tell it’s a soundstage that they’ve created. But I like it. I like that you can kind of see the rain on them. And totally it was one of those it’s the final showdown and it pays off for me because a lot of times in these movies, the action sequence in the middle of the film is like the best.
Joe: Yeah. You know, and you kind of get to the end and it’s a little bit of a letdown. And I didn’t feel that way with that fight scene with them in the rain. It was awesome. It paid off for me. Yeah. No, I enjoyed it. I enjoyed every second of it. So even though Idris Elba loses.
Greg: I’m so sorry.
Joe: That that happened. I’m sure he’ll be back. And Fast and Furious. Hobbs and Shaw and Brixton two.
Greg: Let’s go back to the scene when they all get to Samoa, we meet Hobbs, his family. I thought this was kind of needed in this movie. It’s a very nice third act thing to happen for me. Apparently they flipped it. That were supposed to happen much earlier in the movie, and three weeks before the movie started shooting, David Lynch realized, no, wait, we should do this at the end.
Greg: Mostly because he had visited the location and he was like, it’s so warm and inviting and amazing there. I think that’ll represent the family stuff pretty well for the enemy. But yeah, they’re there because Luke Hobbs brother, is the only person on the planet who can fix that machine. Oh my gosh, we started this loop an hour ago.
Clip: And.
Joe: I throw this on one spot and.
Clip: One.
Joe: Person puts nitro in there.
Greg: And by that we mean Cliff Curtis takes pictures of some pieces with an iPhone, and then 3D prints those pieces and puts the thing back together. And it works.
Joe: I think. So, I mean, I appreciate that they didn’t really explain it because, yeah, those are moments in movies like this where they start to explain the science of any movie, any part of it, and you’re like, just stop talking. Nobody’s nobody cares, nobody cares.
Greg: But we’re getting a little bit of the backstory of the Shaw family with Vanessa Kirby. We’re getting the Ocean’s 11 scams that they did as kids were seeing how tight they were, and we’re seeing that he is actually a good guy, that I think he attributes everything bad he did to Brixton. A lot of this is unanswered. Yeah, and it apparently is supposed to be answered in the future.
Greg: If the Fast and Furious verse continues.
Joe: Spoiler alert it. Well, there is no way that the end that will be on Fast and Furious 20 is at some point.
Clip: And you know. Do you think so?
Greg: Do you think after 11, we’re in a time where we’re in between 10 and 11 right now? As a country.
Joe: As our nation turns its lonely eyes into the future.
Joe: I would be shocked if there’s not at least a 12. And then Vin Diesel pushes for like, 12, 13, 14, like the final trilogy that this was supposed to be the final trilogy. There’s there’s too much money on the table for me. I’ve heard rumors. I thought that was already. It’s supposed to be or I think there’s there’s, Hobbs and Shaw in at least some stage of development.
Joe: You know, I’ve also heard that there’s, like, another movie that kind of focuses on the female characters. So this universe is with us for a little while.
Greg: Yeah.
Joe: Whether it should be. That’s a different question.
Greg: Right.
Joe: And whether it is.
Clip: Yeah.
Greg: So they fix the machine, they turn it on. Vanessa Kirby, we had a 72 hour clock before she died with the virus. Now we have a 30 minute clock before the virus is extracted from her, and she is safe and the virus is in a tube again or something.
Clip: Yeah.
Greg: Of course they figured out how to hack the bad guys guns so the guns won’t work once they arrive to the island for six minutes and we get a pretty awesome, like a window into Samoan culture. With, Hobbs. His family has a million brothers. One of them is also a wrestler. Which I think is actually The Rock’s cousin as well.
Joe: I think so, yeah.
Greg: And we meet his mom on the island and he hasn’t been home for 25 years because his dad was a bad guy. We get a little bit of that exposition with Vanessa Kirby. Cliff Curtis is incredible. I mean it’s just unbelievable. We need an entire Cliff Curtis verse. You obviously mostly love him in avatar two probably.
Joe: Yeah. It’s hard to. Yeah. And probably all other avatars.
Clip: Yeah.
Greg: He was great in Columbiana. He’s been great in a million things. The Curtis is incredible. David Leach mentioned that they were looking for somebody who is bigger than the rock, so that the rock could be the little brother, it turns out. But then he said something that’s never backfired on me was hiring the most talented actor. And Cliff Curtis is not taller than the Rock.
Greg: But he is a taller actor. He is a better actor. And so he’s like, I’m just gonna get the better actor and that’ll work. And he did not regret it. They all get ready for, like, ancient Samoan War.
Clip: Yeah, the.
Greg: Bad guys who then arrive with all of their bad guy vehicles.
Joe: Yeah, a day later, a day later.
Greg: And so they need Vanessa Kirby to be, like six feet from the front lines for some reason.
Joe: I’m not quite sure why. Yeah, she’s got to be close.
Clip: Right.
Joe: There’s a line that doesn’t make any sense. No, I you need to be close so that I can keep an eye on you. But I’m gonna be fighting all of these bad guys, right?
Greg: I need you to be in the most dangerous place to keep me safe. It’s essentially.
Joe: Exactly.
Greg: Amazing. So that is so fast and furious. Yeah. Anyways, so then they get into this fight, the sun is coming up as they’re doing it. And we are one hour and 44 minutes into an almost, if not perfect, nearly perfect great bad movie. And then.
Clip: This happens. And then they come out with me the chopper. Bring me the chopper. Yeah.
Greg: We gotta bring the chopper in. It’s been an hour and 44 minutes.
Joe: Yeah. No helicopters anywhere in sight. Finally we are.
Greg: Overdue for the absurdly low flying helicopter for the rest of the movie. Essentially, I love it. I didn’t even know I needed it at this moment. This happened last episode as well. Yeah, in John Wick. Oh my gosh. Absolute perfection.
Joe: And this helicopter scene is the pinnacle scene. So it’s.
Greg: Yeah.
Joe: Somehow it gets attached to the car that the Rock and Jason Statham are in. And then they have to connect more and more cars, right. Yeah.
Greg: They’re because Vanessa Kirby is in the chopper.
Joe: And they’re trying to keep it from taking off.
Greg: Right.
Joe: And they need more and more weight. And so they end up with like 4 or 5 cars. Yeah. Like only one of them has wheels on the ground. Magically it only lifts the car off the ground until the other car come. That lets it off the ground.
Greg: So good magically is the right word there. Yeah.
Joe: And then they use their knobs. They flip their switches and use that.
Greg: Absolutely.
Joe: Crash. And it’s ridiculous.
Greg: Your favorite thing happens. So Hobbs and Shaw are driving this truck. They put a chain around this Black Hawk helicopter that was real. Then they attached like three other cars. And so Hobbs and Shaw are like the fourth car up in the air that the helicopter is taking off with. And then Hobbs, who’s like on the back of the truck, yells to the first truck that it’s time for the nons.
Clip:
Joe: And he hears.
Greg: Him and he hears them and we’re good to go. Unbelievable. There’s four cars in the air and a Black Hawk helicopter behind him, and.
Joe: You have this great scene where the the chain that’s holding them together.
Greg: Yeah.
Joe: Flips through and he grabs it, and you have, like, muscle shot of the rock holding the chain. Right. Holding 3 or 4 other cars. And the helicopter and like, yeah, it’s so good. And then it.
Greg: Somehow does not like this does not pull the rock. And two because the rock is. So I was looking for like Fast and Furious branding throughout this whole thing. What is it that makes this a Fast and Furious movie? Because I know David Lynch and I’m a fan of David Leach. And so this was one of the things where it was like this had become part of the Fast and Furious brand.
Greg: There needs to be one scene of like, impossible strength, and because Vin Diesel wasn’t around to do it, they gave it to the Rock. Also. So dumb.
Joe: So down. Those are the moments where you’re like, I know that this. It should have taken me out of it. But I was like, right? Nope. I’m here. I’m in. That’s right. You hold that helicopter.
Greg: Absolutely. We’ve all been there. Yeah. I have to say, when they are getting ready for the battle, this is very much like the rundown, actually, when what’s his name comes out and, like, reads from the Bible before the final confrontation. And there’s no explanation why they don’t just shoot that guy. Yeah. The Rock and everybody else. They do like a Samoan war dance.
Joe: Yeah.
Greg: Before the battle starts. It was amazing. It was so good. So the rock is half Samoan, half black.
Clip:
Greg: And his mom who is his Samoan half was there next to the camera while they were filming this.
Joe: Awesome.
Greg: And he is doing like the true Samoan dance to the island. They’re supposed to be on. There’s like different Samoan island traditions. So the island they’re supposed to be on. He is doing the official war cry in the official war dress. He’s nothing up top. And he’s got like a red like war dress on, the bottom half.
Greg: And as he is doing this scene and all of his brothers and they cast this pretty, well, with only Polynesian actors, his mom is next to the camera. And as they’re doing a take and he’s doing this official war cry, his mom starts bawling.
Joe: Awesome.
Greg: Next to the camera. And in the scene, I think you can see that the Rock’s eyes are a little glassy while he’s doing it. So they finish this take in all of them, like Cliff Curtis. All of them walk over and they call her Auntie, and they are like giving her big hugs and asking her if she’s okay because she is just bawling that where she came from is being represented so well.
Greg: I mean, can you name a movie that’s a blockbuster like this that has represented Samoan culture like this?
Joe: I don’t think so.
Greg: It’s just so awesome. I loved it, so I love the way it is happening. And his eyes looked a little glassy to me. And then when he was on like, Good Morning America or whatever, he told this story.
Joe: Yeah.
Greg: And I love it. I love it so much.
Joe: That scene is awesome. I just have to say a spoiler alert for the drinking games. The rock is inexplicably wet through that. So you’re drinking.
Clip: What? It’s like? Yeah.
Joe: Totally oiled up. Yeah. That’s these.
Greg: Hubs. His baby oiled up. Yeah. Okay. Well, Joe, it occurs to me that maybe some people who are listening this episode have never seen Hobbs and Shaw.
Joe: Yeah, weird.
Greg: And so, do you have anything about the back of the box that you want to say before we get to it?
Joe: I do. I have a couple back on the boxes because we actually recorded this years ago, and it wasn’t kind of before we knew what we were doing.
Greg: Yeah. When we were still testing out great bad movies.
Joe: Yeah. So I’m going to read a couple different back of the boxes for you. I have the back of the box and they have two different real back of the boxes that I’m going to read for you.
Greg: Okay, okay.
Joe: I read through them. They’re both about the same on the back of the box, but the real back of the boxes are a little divergent. But you’re in Blockbuster Video. Absolutely, as you were way back when you lift it up, you go, oh, that might be interesting. And this is what it says on the back of the box.
Greg: All right. It’s time for the back of the box.
Joe: It’s the back of the box when a virus is stolen by a rogue MI6 agent, the only two people who can save the world are Hobbs and Shaw. Together, they fight the secret corporation behind the virus, which is trying to make a breed of super soldiers. This unlikely duo trade punches, barbs and jokes through this high octane thrill ride as the action spills out onto the streets from London to Samoa.
Joe: That’s the back of the box.
Greg: I love it, I think I rent it.
Joe: I think you rent it. This is my most current back at the box. And then I will read the, the one that I wrote a few years ago. Okay, okay, okay. What if Mission Impossible two and Tango and Cash had a baby? If you, like us, have ever wondered that, then I have good news. Hobbs and Shaw sticks the landing and makes all your dreams come true.
Joe: Throw in David Lynch directing and perfectly timed cameos from Ryan Reynolds and Kevin Hart. And this might be a perfect movie, or at least a great movie. Or at least a movie.
Clip: Still.
Joe: Counts. They’ll count.
Greg: Okay, I have a million thoughts about taking at this. That is amazing, but let’s get to the one from years ago when we were still testing out great bad movies.
Joe: All right, so this is the real back of the box from, I think, July 2021. So Idris Elba plays Brixton, a soldier and visionary leader trying to help the human race evolve to a higher plane of existence. Unfortunately, an unlikely partnership formed between Hobbs and Shaw, and they work to stop the evolution of the species due to their misguided principles.
Joe: So that is my all in the tank for Brixton. Yeah, on this one.
Greg: That came early.
Joe: That came early. As you can see, not much has changed really. My love of Idris Elba and his character and this runs deep and and long. Yeah.
Greg: That’s amazing. I was just thinking that it’s amazing that this movie came out in August of 2019.
Clip:
Greg: This movie missed Covid by 5 or 6 months.
Joe: Yeah, that’s crazy.
Greg: And this movie is basically about science fiction Covid. Which was just so out there, you know, in 2019 and then 2020 was not. I wonder what would have happened if this movie was done and was set to be, you know really summer 2020. I wonder what would have happened to it. I wonder if they would have rewritten it.
Joe: Yeah. It’s either they rewrite it or they hold it or they shelve it for a while, or they just release it on streaming and hope it does.
Greg: Okay, seriously, I don’t know if we’ve ever spoken about this, but it we lost touch forever over Covid. We started hanging out over zoom. Yeah, just to start hanging out again. And so it’s partially because of Covid. Why great bad movies exists because I was just reaching out to whoever saying, do you want to hang out over zoom?
Greg: Because that’s how everything happens right now, and you can hang out with whoever you want. I was like, just Guy Tucker, what are you up to?
Joe: Yeah, I remember without taking us down too long of a rabbit hole. So we have always been obsessed with the perfect playlist or mix mixtape.
Greg: Yeah.
Joe: Forever. Yeah. Our basically entire relationship to be based on trying to create the perfect mix.
Greg: It’s who we are individually and collectively.
Joe: Yes, exactly. And I remember what spurred me to even kind of think, to reach out as I was working on a playlist, one of my favorites and best ones I’ve ever created. It’s my on them on the edge mix.
Clip: Okay.
Joe: And I remember having on that mix, so it had Nine Inch Nails doing a cover of a Joy Division song.
Clip: Oh wow.
Joe: That’s also and that’s on the Crow soundtrack. Nine Inch Nails. We had a movie we saw in the theaters sure, together, and I remember wanting to share the playlist with you, but knowing the question would be, why are you using the Nine Inch Nails version of the Joy Division song and not the original version? And I couldn’t listen to that song, the Nine Inch Nails version song anymore, and I had to change it out with the Joy Division song.
Joe: And to me, every playlist I make is run through the rice wine heart lens of why did you do that? Can you justify this choice? Wow.
Greg: That’s incredible.
Joe: And so to this day, the Joy Division version of that song is on that playlist.
Greg: That’s incredible.
Joe: And to me, like, and I feel like, and I don’t know if you reached out or I reached out was like this psychic moment of.
Clip: Yeah.
Joe: Yeah. You know, within weeks of that in my head discussion as I was walking my dogs. Yeah, listening to that playlist, listen to that song going, I can’t justify why this is this, this version of this song is on this playlist. And so here we are. Here are five years later, four years later.
Greg: I have to say that if that version of that song showed up on a playlist that you sent me, I would be like, of course, job with the 90s sales playlist, because Joe loves 90s nails and I and Who you Are is enough in that moment, I would be totally fine with whatever version of a song you like more, but I also appreciate that you put the Joy Division version on there.
Greg: That’s amazing, I remember, and we’ll dig up this audio someday. But like I remember in that first zoom hangout that we had where we were throwing around the idea of a podcast, you said, well, for my money, the best movie series that’s happened in the last 20 years has been the Fast and Furious series, and I had been screaming from the rooftops anyone who would listen.
Greg: And I realized that you and I, despite not talking, were in kind of parallel lanes, as it were, screaming from the rooftops about the same kinds of movies.
Joe: Yeah.
Greg: And so it just made me think. So many decisions that I make in life stem from when we were hanging out, so many things that I find funny and ways that I relate with people and things that make me laugh stem from this right here, from this friendship. So that’s why I’m so stoked that we’re doing this podcast, because we’re you know, reconnecting in that way.
Joe: Absolutely. I mean, and for anyone listening, this is basically all of our conversations. Like we didn’t weren’t recording this. We would still have almost the same conversation about this movie.
Greg: And we would be talking about this movie at this length.
Joe: Probably. Yeah, I know we are pushing now two hours. Yeah, yeah. And we haven’t even gotten to important questions. So we’ll let.
Greg: You know when we’re halfway done.
Joe: Yeah. Yeah, exactly. I mean, Hobbs and Shaw deserves a four hour podcast though.
Greg: Yeah, absolutely. That’s so funny. You also mentioned Judge Dredd in that first conversation we had back in the day. And you’re mentioning Tango and Cashier and your real back of the box. That’s so incredible. Yeah, this is totally Tango and Cash, a movie that was trying to be funny and largely wasn’t, but also was.
Clip: Yeah.
Greg: It’s a very similar tone that I bet David Lynch doesn’t like to bring up. But he was like, oh yeah, I was totally thinking about Tango and Cash.
Joe: I feel like this movie corrects some of the tango, like, hang on cash, I like I watched that within the last ten years.
Greg: And we’re talking about Sylvester Stallone and Kurt Russell being unlikely partners in an Andre Konchalovsky movie. Is that who directed that movie?
Joe: I think so, yeah. And it really does not hold up and is incredibly sexist, transphobic, homophobic. I remember it was billed as like an action comedy. It’s not funny really.
Greg: Well, it’s unintentionally funny.
Joe: Yeah, not intentionally funny, but this movie and a lot of movies kind of that unlikely partnerships like, oh, some sort of debt of gratitude to Tango and Cash. But it just as a movie doesn’t hold up. And I think I even watching I thinking about this podcast and it just like, like I can’t I don’t think I could do it.
Joe: Yeah, I know it’s one of those. It’s two. There’s too many problematic things about it, but this movie corrects some of those of like the people that start off hating each other and then end up falling into an unlikely partnership or, yeah, classically, you know, a male and female people hate each other and then fall in love type of trope.
Joe: Sure. But this movie for sure is an homage to Tango and Cash.
Greg: Yeah, I feel like it was Sylvester Stallone learning the wrong things from Lethal Weapon. That’s what Tango in Cash was like. Hey, I can do this. And what cracks me up is Tango and Cash. Back in the day, I was like, Sylvester Stallone is great. I don’t really understand Kurt Russell. And then I watched it again over Covid and thought, Kurt Russell is incredible.
Greg: What on earth is sliced alone doing in this movie?
Clip:
Greg: And it’s like you know little kid logic versus grownup logic basically.
Joe: Yeah.
Greg: Kurt Russell is a real person in that movie for the most part. And Sylvester Stallone is just what I don’t even know what he is. Yeah. Yeah. But kind of tying back to this movie, David Leach was definitely going for Lethal Weapon vibes in this movie, to the point where you remember the soundtrack to Lethal Weapon. It was like Eric Clapton on guitar.
Greg: And is it like David Sanborn on saxophone? There’s so much saxophone and guitar soloing. Yeah, and those four movies. That is a dangerous drinking game. If you’re ever watching those movies. And we’ll get to some of the Lethal Weapons. Yeah. Lethal Weapon is that plural?
Joe: Yeah, exactly.
Greg: And so there’s moments of this movie of Hobbs and Shaw where he wanted them to do like, that kind of music at amazing. And this just shows me that he was, like, stirring way too much in the pot for this film. He says in the commentary. That’s why that kind of music, it is in this film, because I wanted it to have ties to Lethal Weapon, and I’m someone who listens to all of the music and movies, and I had never noticed, that that was happening.
Greg: So it’s a very loose affiliation, but he was trying for that. Anyway, let’s go for some sort of musical affiliation with Lethal Weapon.
Joe: That’s interesting. Yeah, I didn’t I had all I noticed was the drums.
Clip:
Joe: That I felt like were in the action sequences or like the really driving drum.
Greg: Yeah. We’re just kind of fast and furious ish. Yeah, except not in seven. Yeah, totally. There’s also an Idris Elba song that happens during the London chase. I think they say time for some action. I want to say that’s.
Joe: The lyric.
Greg: To the song and it’s, I think with the guy from Cypress Hill.
Joe: That’s amazing. I know that he’s a musician and a DJ and all of that. Yeah. So yeah, one more reason why Idris Elba is probably the best person on the planet.
Greg: So he should have won at the end.
Joe: Exactly.
Greg: Maybe he did win at the end. We just don’t know yet.
Joe: Yeah, I’m sure he did. I’m sure he’ll be back. You better. David Leeds if you listen to this podcast, which I know you don’t, please bring back Brixton.
Greg: Absolutely, absolutely. It doesn’t have to be in a Fast and Furious movie. Do it in your next movie. That’s right.
Joe: Justice for Brixton. I think that’s what we need.
Clip: Yeah, yeah.
Greg: All right, well, Joe, should we get to some of the box office and the critical reception of this movie before we get to drinking games?
Joe: Absolutely. Let’s do it.
Greg: All right, let’s do it. This movie had a budget of $200 million.
Joe: That bonkers. That is a lot of money for this movie.
Greg: And the things that I loved about this movie were probably 100 million of it. And I bet a lot of the CG budget could have been scraped out domestically. I made 173. It’s a little rough. Internationally, it made 586 million.
Joe: So it made some.
Greg: Money. So a lot of money in China, actually, which isn’t so much the case these days with films. But worldwide, this movie made $760 million. So this movie about money. Yeah, totally. What do you think the critics rating on Rotten Tomatoes is.
Joe: For this, which feels like a 70?
Greg: I does feel, I mean, just like a right down the middle 70, right?
Joe: Yeah. But I feel like critics score a 5567. Oh, I was way low on that.
Greg: They were only off by three. Yeah, yeah.
Joe: I was a 70.
Greg: And what do you think the audience score on this movie is?
Joe: I usually think audience score is going to be higher. So I’m going to go 75, 88, 88. Okay.
Greg: This to me says you and I are correct. Hobbs and Shaw is a great bad movie. Yeah, we probably should make this a two parter episode and continue recording for five hours.
Joe: Exactly.
Greg: All right, let’s talk about what the critics said about this movie. Some of these are so awesome. We need to start with our hometown paper. Moira MacDonald in The Seattle Times says all of this silliness is actually great fun, particularly the bantering chemistry between Johnson and Statham, who spent much of the movie squabbling and calling each other names.
Greg: So she was into it three out of four. So when she gave it the San Francisco Chronicle, Mick LaSalle said, Hobbs and Shaw does all the usual things, but it does them in unusual ways and it stays funny.
Joe: I agree with that.
Greg: Newsday says a mostly enjoyable movie that feels like many other mostly enjoyable movies.
Joe: I think that might be the best one yet.
Greg: Yeah, yeah. Rafer Guzman, that’s a pretty good description. Okay, so time Magazine, Stephanie Zurek says somewhere around the midpoint of Hobbs and Shaw, which you have to think is probably in Ukraine.
Clip:
Greg: The action sequences become so elaborate that they start to weigh the movie down. It becomes less a lean machine than an unwieldy chubby sausage.
Joe: I would agree with that. Yeah.
Greg: Also correct. Stephanie is right on board with that one. Okay. Mashable Angie Han says maybe the family isn’t all there, but it turns out the extended relatives throw a pretty good party too.
Joe: I like that.
Greg: It’s so funny. All of these critics, you know, I’m not reading a million of them. They’re all approaching this like a Fast and Furious movie, not a David Lynch movie. So there’s a little bit of joy like, hey, you know what? Yeah. And a lot of these. Jake Coyle of the Associated Press says usually it’s pleasantly aware of its own silliness, but they’re blindspots.
Joe: I think. I think that could be a description of this podcast.
Clip: Absolutely.
Greg: Often we find what could be the name of this podcast if we didn’t use great bad movies, had this next review, has it? Probably the best one I’ve heard. So far. Sarah Michelle Fetters from Movie Freak com says it’s a lark, a goof, a live action cartoon. The final product, a supercilious piece of frivolous fluff that frequently had me rolling my eyes in incredulous disgust.
Greg: Supercilious pieces of frivolous fluff is the new name of this podcast. It’s, like, very concerned. All right. And my very favorite review, Chris Stockman from Chris stockman.com. The majority of the people who see this movie know exactly what they want out of it. And this movie is going to give them that last review.
Joe: Yeah. Fast review.
Greg: All right, Joe, is it time for us to get to drinking games?
Joe: Let’s get to some drinking games.
Greg: Let’s do it.
Joe: Also like meta drinking game of us renaming the show based on critics?
Clip: Yes.
Joe: Critics reviews.
Greg: Absolutely. If you’re on a treadmill, drink some water. If you’re at work, drink some coffee.
Joe: That’s right. You don’t have to be drinking alcohol. You can drink whatever. It’s dry January for some of you. And not for me, not for Greg, but for other people in the world. All right, so we have our stock drinking game starting off with silent or low flying helicopters. Oh, yeah. Big part in this.
Greg: So incredible. Is it silent.
Joe: It’s not silent. It’s not spy. But it is.
Greg: Very low flying.
Joe: Low flying and quiet enough that the rock can scream from four cars away to the person in the front car that, yes, absolutely, we can type, we can hit them whatever the knobs, the magic totally counts.
Greg: Yeah. Okay.
Joe: Push and enhance.
Clip: Oh, yes.
Joe: Yeah, yeah. All over the place and reverse.
Greg: They flip it in reverse, said Missy Elliott style.
Joe: When two people share a slow motion look in the middle of chaos. Oh, absolutely. You’re drinking for this one? There is an explosion with silent suffering and ringing in the ears. It’s awesome. Opening credits scenes locks in place with the sound. So it opens with a musical and then it closes. Yeah. Also with a sound. So it’s a double whammy for you.
Greg: Opens with the song. We usually just say if they show the title, it’s time for the party to take a drink. We’re thinking specifically of our Portland friends. Yeah, but yeah, the noise at the end, let’s listen to it.
Joe: It’s so good.
Greg: Solid. Okay. Yeah.
Joe: We don’t have it really flashback in the dialog. We do have lots of crazy CGI in this. We’ve talked about that at length. Yeah, great bad shots.
Greg: Oh so many great bad shots.
Joe: So many.
Greg: The outrun a ridiculous amount of machine gun fire.
Joe: Yes. The streets are not inextricably wet, but the rock is inexplicably wet. And Samoa. So you can drink. We also have another variation on. Give us the room. Oh, what is it? Where you have the Rock and Jason Statham in the room. And two people not wanting to go into that room with them.
Greg: So take a drink.
Joe: Take a drink. We do not have Interpol references, although total missed opportunity. There is no reason not to have had Interpol somewhere. Yeah, those are our stock drinking games. I have a lot of drinking games, but I push it to you. Greg’s fine heart. What is one of your drinking games? I’m sure we have overlap. Also, I’m excited to find.
Greg: Out, I bet. Yeah, my first one is every time we see the world through the eyes of Idris Elba, and he’s seeing things like a Terminator.
Joe: Oh, that’s a good one, I missed that. That’s a that’s an awesome one. I have every time there’s a split screen with Hobbs and Shaw.
Greg: Oh, wow. That’s a good.
Joe: One. Drink. Especially in the beginning of this movie. You’re drinking a lot.
Greg: Every time the Rock says, that’s awesome.
Joe: I have. Every time you notice the color story of both Hobbs and Shaw, take a drink.
Greg: To someone else in the room. Get to determine that for you.
Clip: Sure.
Joe: Okay.
Greg: Yeah. Okay.
Joe: I’ll make it fun.
Greg: I have anytime somebody else. Something in the middle of action that there’s no possible way they would actually hear.
Joe: It. I have any time they scream out there are they talk about their rock star scheme. So they have the Keith Moon and,
Greg: Mick Jagger.
Joe: Jagger?
Greg: Yep.
Joe: Take a drink.
Greg: They should have had one just called the Ocean’s 11. Yeah.
Clip: Off the top of my head, I’d say you’re looking at it. Boesky, a Jim Brown, a miss Daisy. Two jethro’s. Leon speaks. Not to mention the biggest Ella Fitzgerald ever.
Greg: Seriously, any time the Rock is able to control a helicopter by grabbing onto a chain with his bare hands one time.
Joe: Finish your drink. Yeah, but it’s pretty, pretty amazing. I have every time Ryan Reynolds or Kevin Hart make a cameo, take a drink.
Greg: That’s all it? Yeah. Any time there’s a close up of a car logo.
Joe: Oh, shockingly, surprisingly, you’re drinking a lot on that one. Every time they say snowflake, take a drink.
Greg: Oh, that’s good, that’s really good. Anytime you see the Hobbs Family Auto Body Shop logo, which is mysteriously everywhere in Samoa.
Clip: I did not know that I have.
Joe: Every time he talks to his daughter via FaceTime, take a drink.
Greg: That’s really good. And she was great. Anytime we go to a new city in this movie, there’s like black fast and furious text. It’s like the inverted, the Fast and Furious text. Yeah. So anytime black Fast and Furious text shows on the screen what city we’re in.
Joe: Okay, perfect. I love that every time they show the bond like villain lair, take a drink.
Greg: Right. Which is actually the. That’s the McLaren auto plant.
Joe: Oh, awesome. And he’s driving a McLaren. Yeah. And one of the.
Greg: How did you know that?
Joe: Yeah, I don’t know. It was weird.
Greg: So weird. You just know it from far away. Yeah. That’s incredible.
Joe: I can tell the McLaren. Just like if I just looking at the at the car now.
Greg: What a bizarre place to work, by the way. There’s like, all these layers of people just sitting and there’s this huge screens of just warbled. Yeah. Even when that person is talking to somebody on the other side of the planet, everybody’s just working and they need to listen to their boss, the director. Okay, this is similar to when you had any time you look at the screen and think, hey, look blue and yellow again.
Joe: I have every time they say, Alpha, take a drink.
Greg: That’s. Yeah, that’s a really good one. I’m out. What else are you okay?
Joe: I have, every time there’s a stunt actor with a helmet on. Take a drink.
Greg: Yes.
Joe: Anytime. There’s, a joke about. And I’m going to be as delicate as I can about your manhood. Take a drink. And then every time someone is hit by a chair, take a drink.
Greg: Oh, and by someone, you also mean that window separating them from the controls.
Joe: Yeah, exactly.
Greg: All people. Okay.
Joe: Yeah.
Greg: All right, Joe, let’s move on to Joe’s trope. Lightning round, aka you might be watching a great bad movie if.
Joe: I try it. So I’ve added a new trope conversations right before our final battle. Oh. You have you have the rock and Vanessa Kirby having a conversation. You have the Rock and Jason Statham, and I think even Jason Statham and J. And Vanessa Kirby, all of them. And then the Rock and his family. So you have them getting like, we might die tomorrow, so let’s patch things up today.
Joe: Type of stuff. So.
Greg: Good. You know what that reminds me of? Tell me if you’ve ever done this or if this has ever happened to you. When you’re driving someplace with either like a friend or a significant other, and they ask you an impossible question or say something that’s like totally poking at a hornet’s nest, like minutes before you arrive at a place.
Greg: Yeah, that never happened to you.
Joe: Oh, yeah. Oh, yeah. For sure.
Greg: I’ve done this. And this has happened to me so many times that it’s a trope in my life.
Joe: That’s right. Yeah. It’s like, And then. And then how did that make you feel when you did X, Y and Z? That’s like the most important decision you’ve ever made in your life. Oh, also.
Greg: It’s a lot right here.
Clip: Yeah.
Joe: You’ve got to catch your plane and we got to leave in ten minutes.
Greg: Why do we do that as people? But it’s something I do and other people do.
Joe: As.
Greg: Any. So funny.
Joe: Yeah, we have color filters both on the characters and also in Samoa. So of developing nations who have an odd couple or unlikely partnership, we have a charismatic bad guy who is probably the best character in this movie. We have lots of explosions on impact with car crashes, conversations in the middle of chaos, or in car chases. I’ve kind of amended this one.
Joe: We have duffel bag full of guns and also just wall of guns. So there’s multiple scenes like, you know, secret walls of guns. Amazing recovery time. I don’t even know if the rock or any of the main characters actually get hurt in this movie, even though they get punched a lot.
Greg: It’s like a reverse Gerard Butler. Exactly. Nothing ever happens to them.
Joe: Nothing ever happens to them. We have sort of downloading a file under pressure, but we have extracting the virus under pressure, under time checking if a gun is loaded. There’s a lot of that that happens. And then, protagonist that is captured but not killed right away and then is saved by their while. So they are both captured at one point in this movie.
Joe: Totally. Also, they do not kill the bad guy. The bad guy is actually killed by the body. His voice.
Greg: They call him the director.
Joe: Right? So Hobbs and Shaw are going to not kill him. They’ve defeated Idris Elba and then he is killed. Not by them, but by someone else. So those are your. That’s your trope. Lightning round right there. And feel free. I did add in the new trope sent in by our reader. When two people are shooting at each other and they both run out of bullets at the same time.
Joe: That is a trope in this. This doesn’t happen in this movie, but please send us your tropes. This is, to me, a working document. Currently, we have 41 different tropes that we.
Clip: Kind, so.
Joe: Please send us your tropes if you’re if you’re interested in participating in the show.
Greg: Yeah, absolutely. All right, Joe, is it time for us to get to ask some important questions about this movie?
Joe: It sure is.
Greg: Did this movie hold up then in 2019.
Joe: I think it held up better than yes. Then.
Greg: Okay. And does it hold up now?
Joe: It’s a it’s a rougher. It’s one of those movies. It’s not aging as well as other movies have. It’s not terrible. But I don’t know. How do you feel about it?
Greg: I go the other way. I think it’s sort of held up, then held against the Fast and Furious standard, and it holds up better now. Held against a David Leech standard.
Joe: I’ll take that. I’ll allow.
Greg: It. How hard do they sell the good guy in this movie?
Joe: Not really. Yeah, yeah, they kind of show it in the beginning, but.
Clip: Yeah.
Joe: We kind of know we also we know these characters. So it’s, you know.
Greg: How hard they sell the bad guy.
Joe: There’s some pretty good selling of the bad guy and the different points.
Greg: And the bad guy in this movie, we should say can like manipulate the media. So like, all of media is now doing whatever, whatever. Yeah. It was kind of like a fake news kind of we can just spread whatever we want, kind of commentary and seem like, yeah, we don’t understand how what they were selling when they sold the good, the.
Joe: Bad guy, they’re pretty powerful. This this operation, this bad guy operation, son. Yeah, yeah. 18 or whatever.
Greg: Okay. Why is there romance in this movie?
Joe: Joe I struggle with the romance in this movie. And there’s very little there’s, like one kiss between Vanessa Kirby and the Rock, right?
Greg: Which Vanessa Kirby did, unprompted, by the way. They’d kind of decided, no, we don’t think we’re going to pursue the relationship. And then, much like which Mission Impossible movie was that?
Joe: Oh, no. I think you’re thinking of Edge of Tomorrow, when.
Greg: Yes, I totally am. But also, Vanessa Kirby kisses Tom Cruise in Fallout Mission Impossible six, which was also not scripted.
Joe: Is this just Vanessa Kirby’s move?
Greg: I think it is.
Joe: Yeah, it’s it’s like I’m going to kiss the leading man just to like, see what happened.
Greg: Yeah. And one of the takes and they use that one. Yeah. They are awesome in this movie.
Clip:
Greg: I feel like they really enjoyed their scenes together or they’re incredible actors. Yeah. They really seem to like Maria Kondo’s spark joy as they were talking about things.
Joe: Yeah. They have multiple moments where it takes a really great actor to deliver some of these.
Greg: Give.
Joe: Us lines.
Clip: Yep.
Joe: And so Idris Elba has some Jason, I don’t know if I would put Jason Statham on the Rock and the great actor category, but I think Vanessa Kirby, you know, you have Helen Mirren and Vanessa Kirby and, and it’s just like they deliver some ridiculous lines with the conviction you need in the movie like this. So I appreciated that.
Greg: Totally. Are we bad people for loving this movie?
Joe: I mean, probably, yeah.
Greg: You have to assume, does this movie deserve a sequel?
Joe: I would take a sequel. I would take so many sequels. I mean, as much as some of the challenging parts of this movie there are.
Greg: Yeah, I will watch.
Joe: Especially if we can get David Leitch back. I will watch as many Hobbs and Shaw that you’ll bring out for me.
Greg: Let me ask you this. Would you rather have a Hobbs and Shaw sequel than another Fast and Furious sequel?
Joe: Absolutely.
Greg: Yeah.
Joe: Me too. Especially if they can kind of keep the tone of the Hobbs and Shaw the comedy and the the funniness of it.
Greg: Yeah. You know. All right, so there’s a little bit of backstory here. The Rock announced that there would be a Hobbs movie before the next Fast and Furious movie, because Hobbs shows up in the after credits scene of fast ten.
Joe: Right?
Greg: And there is apparently some history between Hobbs and Jason Momoa’s character, Ray. So there actually was like, artwork released. I don’t know if it’s official or not, but Hobbs and Reyes. So there was supposed to be some sort of Hobbs and Jason Momoa take care of their relationship. And at the end of this movie, the voice says to Hobbs, do you remember me or do you know who I am.
Greg: And my theory is that it was Jason Momoa. Eventually, once they figured out who write Jason Momoa, his character was in the next movie, two movies later, I guess that’s my retcon of who this is. I think it’s Jason Momoa. Who do you think the director is that’s controlling Brixton?
Joe: I think you’re right on it. I did hear and actually Gillian did was doing some research on it, said that they were trying to get Jason Momoa in this movie. And because of the infighting between Vin Diesel and the Rock, Vin Diesel got Jason Momoa in Fast ten and said of this one. And so.
Greg: That’s ridiculous.
Joe: Yeah, I think you’re right about it. I want more Jason Momoa all the time. So I’m in on that and let’s go with that and let’s hope for that. There’s a prequel to fast 11 or fast ten part two. Yeah, they’re naming conventions in the Fast and Furious verse are seriously lacking. So yeah, yeah, who knows where we are with this.
Greg: I’m glad that we haven’t really spent much time on this, but we should say that there was some big drama between the Rock and Vin Diesel. And that is partially why this movie happened, because the Rock and Vin Diesel refused to be in like scenes together. And then Vin Diesel was really upset that there was this happening.
Greg: A lot of the actually cast members talked about how they didn’t like the house and what was happening, but then they patched it up. But continuing with the sequel to this movie, the Hobbs and Reyes movie doesn’t seem to be happening. But Chris Morgan, the writer of this movie, last month, said he’s working on Hobbs and Shaw two right now.
Greg: He has no idea how anything will actually play out. He should talked to the studio about that, but he is actually working on Hobbs and Shaw two right now, and we didn’t talk about him in this episode much, but he is the reason that, like the falling from the building action scene happened. And he is the reason that they built up the Samoa scene the way they did.
Greg: Like David Leach said whenever they just asked Chris Morgan we have a ton of money. What should we do. He’s like I got you. If you can come up with the most ridiculous things.
Joe: Awesome.
Greg: You know, some things that we love and some things that we think are ridiculous, which might be the same thing.
Joe: Yeah, probably.
Greg: Chris Morgan thank you everybody. Yes.
Joe: Thank you Chris Morgan okay.
Greg: Does this movie deserve a prequel.
Clip: No.
Greg: Stop it I go. Yes I think we need a full retcon of why we were supposed to like Sha. Can you please just explain this to us? Yeah, because I’m uncomfortable the whole movie. Hold up. That guy is straight up murdered so many people. I need to understand why this guy’s a good guy now.
Joe: All right. Oh, wow. It barely.
Greg: Joe, how can this movie be fixed? AKA who should be in the remake?
Joe: Okay, so I’m taking my own tact on this as I’ve done over the last few episodes. And really, how do you bring worlds together? So you bring the world of Mission Impossible and Fast and Furious together. You get Christopher McQuarrie. Oh, then I come in and refresh the franchise going forward because you have Vanessa Kirby basically playing her character.
Joe: If you want to be from the Mission Impossible world, you have a mission impossible to basic plotline of what this movie is. So let’s have Christopher McQuarrie, let’s bring in everybody back together and let him be the better action director writer. Bring in Tom cruise, and let’s just combine the worlds and then see what happens in Mission Impossible.
Joe: Fast, diverse, 9000.
Clip: 9000. Yeah.
Greg: Do you think Tom Cruise and Vin Diesel will ever be in the same movie?
Joe: No, there’s no way.
Greg: No, I don’t think so either.
Joe: And it’s as Vin Diesel’s fault because I feel like Tom cruise would definitely do it. But Vin Diesel needs to be the man.
Greg: Do you think Christopher McQuarrie would ever work with Vin Diesel?
Joe: Doubtful. Yeah.
Greg: Okay. How could this be fixed? Well, unfortunately, the fix here is getting rid of most of the Fast and Furious ness.
Clip: Yeah, times have changed.
Greg: I love so many of the Fast and Furious movies, but the future of the Fast and Furious series in my heart is struggling.
Clip: Yeah.
Greg: It just isn’t aging well. So I think to fix this movie you make it for $100 million rather than $200 million, and you take away a bunch of the effects. There’s all kinds of effects that happen in these movies that we don’t notice. Like if they’re next to a cliff, they use effects to make the cliff seem higher.
Greg: You know, it’s like danger enhancement, right? I say you keep all that, but like the motorcycle flying through the air and transforming and stuff like that, it just looks fake. And I’m sure maybe somebody really was flying through glass and with a real motorcycle. And then they were transforming the motorcycle with special effects. But, but it was a real motorcycle when they shot it I don’t know it’s rough.
Greg: So I would do it for half the money and I swear to you that it would still be one of the best David Lynch movies in history.
Joe: I totally agree, if you get a little lower to the ground.
Greg: Yeah, a little. I mean, John Wick was $20 million. They made it for $20 million.
Joe: Yeah.
Greg: So it can be done. Having said that, I also think we do a page one rewrite. Okay. But it can still be Chris Morgan because as I just said, Chris Morgan is incredible at this stuff.
Joe: Yeah.
Greg: I think Chris Morgan with some budget constraints would be great. But I’m also recasting Hobbs and Shaw. Oh, Sword of Hobbs is still played by Hobbs, and Shaw is still played by Shaw. But Hobbs is now played by his mom from Samoa, Lori, felonies to Asano and Shaw, to no one’s surprise, is now played by Helen Mirren.
Joe: I’m in, I say. No more. I don’t care what the movie is, I’m watching it.
Greg: It’s a crazy movie. And you know what? It’s also directed by David Lee. Come on.
Joe: Of course it is.
Greg: Okay, now here is how we do this. I mean, obviously both of those moms, we need them doing crazy action. We don’t compromise on any of that action.
Joe: Yeah.
Greg: So we all of those same stunts, all of those same action pieces are there. But we’re not just sometimes they do like face replacement with CG. We don’t have the money for that. Yeah. So all of those crazy stunts are you know, you can tell sometimes when it’s the stunt person and it’s not the actual actor. Yeah. You can totally, totally, totally obviously tell that these stunts are performed by Dwayne The Rock Johnson and Jason Statham with their mom’s clothing and wigs on, like, we are not hiding it at all.
Greg: Close ups of their face.
Joe: Awesome. I mean.
Greg: Okay, I also have some additions. Oh, can I give you some notes? Yeah, please. Please make this a perfect movie in every way. Yeah.
Joe: Obviously.
Greg: Already two times in the movie, someone asks a question, maybe even like a rhetorical question. And Vin Diesel himself obnoxiously answers it as they reveal him trying to walk into the room like he doesn’t. All the other movies, right?
Joe: Yeah, but.
Greg: When that happens and they reveal that he’s walking into the room, our characters, the moms go, no, no, no no no, no, no. And they back him out of the room and close the door. Perfect. Like this isn’t happening. Okay? So he tries that twice. Now there’s a third time that this happens, but the person who obnoxiously answers the question is actually Michelle Rodriguez.
Greg: And there’s a moment where the moms look at each other like, okay, okay, that’s fine. You can walk in and she is allowed in. So Letty gets in. Vin Diesel Dom is not allowed. Yeah, literally pushed out. And they close the door on him.
Joe: Yeah. Perfect. Perfect in every way okay.
Greg: My next important question for you, Joe, is what album is Hobbs and Shaw?
Clip: Oh.
Joe: So I had to think about what is a band that then kind of splintered off.
Clip:
Joe: Or had, you know, side projects.
Greg: Yeah.
Joe: This might be a better band. An album than this movie is, but I had this as The Mars Volta’s first album, The Lost and Cometary. As they had split off from at the drive in.
Clip: Wow.
Joe: And so of you’ve never heard of at the Drive-In? I like at the Drive-In. I’m not a big fan of the Mars Volta or other project that came out of that, and I’m blanking on that part or something like that.
Greg: Yeah, that sounds right.
Joe: But at the Drive-In, I remember I think it’s our second album. It is an aggressively indie.
Clip: Rock.
Joe: Album. Problems with the band they split off, and The Mars Volta is kind of the becomes an experimental indie band. So that’s the way that I went with this.
Greg: And very well regarded.
Joe: Very well.
Greg: And still playing Mars Volta place, you chose.
Joe: Yeah. So what album is this for you.
Greg: So I’m do the exact same thing. Well-regarded band that had made a million records and then splintered off leaving behind some like old interpersonal troubles and had a successful side project. But the main band also stayed together and continued releasing things. So that’s how I’m viewing the Fast and Furious movies are still being released, obviously, but the Hobbs and Shaw side verse is successful.
Greg: I think this is the Gorillaz first album. Oh, Damon Albarn doing a little side project and Hobbs and Shaw two, I Promise You Right Now will be the second Gorillaz album.
Joe: Yeah.
Greg: I can see probably probably a better record enhancing tattoo, probably better than Hobbs drumming. Let’s just call it right now. So yeah. Gorillaz, what song off The Mars Volta should we put on our playlist on Spotify?
Joe: I don’t know that album well enough. I’ll have to listen to it.
Greg: Okay, I’m obviously going Clint Eastwood off that first Gorillaz record, great bad movies, music, the name of the playlist on Spotify that you can listen to of all.
Clip: Of our.
Greg: Amazingly accurate album.
Joe: Comparison. Comparison? Yeah.
Greg: Episode after episode. Okay, Joe, it has finally come down to it. We have to rate this movie. We have a scale. Great bad movies, good bad movies, okay, bad movies, bad bad movies, and worst case scenario, awful bad movies. How do you rate Hobbs and Shaw?
Joe: I am on the fence between okay, bad movie and good bad movie, and I’ve been trying to talk myself into an okay, bad movie, and I can’t do it. It’s just the other side of a good, bad movie. To me, there’s enough. To me, it’s like it’s the David Leech. Save this for me. Yeah. To just Elba as well.
Joe: So this is a good, bad movie.
Clip: Yeah.
Joe: Yeah. How do you rate this one?
Greg: I’m the same. I really, really, really enjoy watching this movie. And then I get to a spot where I’m kind of.
Clip: Like, oh yeah, that’s right.
Greg: This happens in this movie. Yeah, that happens a few times. Maybe it’s like three times throughout the movie. It’s oh yeah, what are we doing? Yeah. So it’s so incredible in so many ways, and it’s lacking in some other ways. It’s a great bad movie. I’m going to call it a good bad movie. Yeah.
Joe: Agreed.
Greg: All right, Joe, we did it.
Joe: Now that we have the conversation that need to be had five years later for Hobbs and Shaw.
Greg: Yeah.
Joe: You’re welcome everyone.
Greg: And yet, we didn’t really get to Vanessa Kirby, and I feel conflicted about that, too. She is quite incredible in this movie.
Joe: She is quite incredible. But. And Assad is.
Greg: Amazing. It’s. Yeah. That her fighting.
Joe: When we do Mission Impossible seven.
Greg: And yes at the end of that yeah, yeah.
Joe: We will get to her because it’s basically the same character. But yeah, I thought.
Greg: I think she might be better in her character, might be better in this movie than those movies.
Clip: She’s your sister. That woman ain’t going anywhere. Where are you going? Away. I don’t time for your alpha male right now. You both idiots. You clearly can’t work together. And so you’re absolutely useless to me. So I’m going to go find the man who can help me get this thing out of my system. See you.
Greg: She’s got some incredible moves in this movie. Yeah. She went through the 80s 7-Eleven. Is that the name of their production company. The stunt company I.
Joe: Think so.
Greg: Yeah. Anyways controversial take. She might be better in these movies than the Mission Impossible movies. All right. Okay. Now we’ve had the conversation.
Joe: That.
Clip: It’s official.
Greg: And I feel like we should probably say spoilers for Hobbs and Shaw.
Joe: Yes, spoilers for Hobbs Shaw. If you haven’t seen this movie.
Greg: You haven’t seen it. Yeah, go and watch it and then.
Joe: Come back to this spot.
Greg: Yeah, come back to this spot in the upside. Yeah, absolutely. I want to add right here that there are a few different ways that you can support our show. If you’ve enjoyed what you’ve heard, you can tell a friend about our show. That’s the way you could help create bad movies. Another thing you could do is rate us on whatever app you’re listening to us, and if you’re not listening to us on app, follow the show on on on wherever you listen to podcasts.
Joe: Absolutely. I would also say tell your enemies about this show. Absolutely. It’s just for everybody. It’s not just for your friends. It could be for your enemies.
Greg: There’s a good chance that Brixton in your life are actually cooler than you, and you should probably get to know them because frankly.
Joe: Idris Elba is cooler than everyone on the planet. So just saying.
Greg: So thank you for listening and, thank you for spreading the word about great bad movies. Listen, Joe, this has been great, but, I just noticed at the time, not only the time, I just looked up in the air and the rock himself. Felicia the rock? Dumbledore is right outside my office right now, but he’s actually four cars up from the ground, and he’s attached to a helicopter, and he’s yelling at me like I could possibly hear him in this situation.
Greg: So I guess I’m the one who’s supposed to climb up to the fourth car from the ground to hear what he’s actually saying. So I better go.
Joe: Yeah, that tracks anyway. I’ve got to go. I’ve got to put on suntan oil and, have an epic battle on Samoa with, no shirt on. So you’re welcome.
Greg: That makes sense. And I have just gotten back from talking to the Rock, and apparently the helicopter attached to the truck with the chain is about to come free, and he’s a little sore from the last time he held on to the helicopter. So he’s asking me if I’ll actually do it this time, if I’ll grab the chain and make sure the helicopter can’t take off.
Joe: That.
Greg: Track. So I’m going to go do that.
Joe: Yeah. Good luck. Anyway, I’ve got to go too. I’ve got to go start every conversation where I am asked who I am with bad guy. So we’ll see.
Greg: Okay. Okay. That makes sense because I don’t know if you noticed, but a friend just texted me and he needs a ride to an auto shop because his transformer bike is stuck in a weird configuration after going through a double decker bus, so I gotta go help him pick that up.
Joe: Yeah, that’s again typical. Anyway, I’ve got to go have a conversation and set everything right with all the people in my life. After a montage of a week’s worth of work compressed into about a day’s worth of time before a final battle. Yeah, I’m not sure if I’m going to live or not, but I just want to make everything right in case we don’t live through tomorrow.
Greg: And it’s so weird that they’ve just been standing right there next to the whole time. Yeah, the whole time in battle. Yeah. Yeah. Well, that makes sense to me because I don’t know if you’ve picked up on this while we’ve been recording, but I’ve been incredibly not only, like, distracted, but kind of disoriented because the black, Fast and Furious font in my life has not been showing up to tell me where I am in this world right now, and it has just been throwing me entirely off my game.
Joe: That makes a lot of sense. I where am I? Yeah, I’m not sure.
Greg: I have no idea where I am.
Joe: I did meet an air marshal who can get me anywhere in the world in two hours. So I’m going to go check on, on and on that, so.
Greg: I love it. We all need a drink. Yeah, we should all be so lucky. Okay, well, that works for me, because I’m sure you have noticed. We should tell the listener that I have been wearing my Samoan war clothing this whole time, and I’m going to go find a shirt on, much like the Rock did immediately after that scene.
Greg: Yeah, because it’s kind of chilly.
Joe: Yeah, it’s a little chilly out here. Anyway, I’m going to breakfast with a friend of mine from the CIA who also might be Deadpool, so we’ll find out.
Greg: I’m out. Do you have any more?
Joe: I just have, I’m going to go bake a cake for my mom who’s in prison, so.
Greg: All right, well, that works for me. And I will see you. So.
Joe: All right. See you soon, everyone.