0:01

Three, two, one.

0:05

Viewer

0:09

beware, you're

0:11

in for a scare. That

0:14

was from

0:15

Goosebumps. Goosebumps?

0:18

Goosebumps. Goosebumps. I

0:20

watch Goosebumps and eat shishy. I'm Adam

0:22

from Your Movie Sucks. I'm

0:25

Alex from IHG. My

0:27

addition to the intro is just...

0:31

You

0:33

can probably hear that laughing in the background. We are not alone. This

0:35

is a special episode. Who is

0:38

joining us today?

0:38

Hi, I'm April Etmanski. And

0:41

I'm Colin Cunningham. Hello. What

0:43

the fuck do you do? Who are you? Who

0:46

are you? How did you get on this podcast?

0:49

How did you hack our signal?

0:51

We're hacking all the way from the other

0:53

side of Canada. Toronto, Canada. Damn,

0:57

that's where we were a month ago. I

1:00

can't believe that. It feels like it was two weeks ago.

1:02

I think I'm still recovering, by the way. Yeah,

1:05

same. It

1:06

feels like it was a year ago. I don't know. The

1:08

way that my time flows is entirely

1:10

just fucking inconsistent. I have

1:13

no idea how long it's been. You could

1:15

tell me it's June 2029. It's

1:20

like you're in the Hypercube. It is

1:22

as though I am in the Hypercube. That

1:25

is correct. That is an

1:27

apt analogy. The Hypercube, definitely not the regular

1:30

cube. No, no, no, no.

1:34

This isn't regular cube business. So

1:37

we've got some

1:40

people in the audience that are probably wondering what

1:42

you do.

1:42

What sort of presence on the internet

1:44

do you have? What are you known for? Well, we

1:47

have our own podcast, me and Colin,

1:49

and our friend Justin, we host called No Such Thing

1:51

Is A Bad Movie. We

1:54

have over 100 episodes. We've

1:56

been doing it for a few years now. We

1:58

talk about bad movies.

1:59

about things that we like about them. And

2:03

what I do is I'm a commercial video

2:06

editor and colorist here in Toronto.

2:08

Whoo.

2:09

How are you? I am also on that podcast.

2:11

Yes. I'm a visual

2:14

effects, I, but no, and

2:16

I'm a visual effects artist in Toronto

2:19

and Adam, you both

2:21

may have seen me, I've been on some red letter media

2:23

videos from time

2:25

to time I pop down and visit Milwaukee and

2:27

we shoot some stuff. Mm-hmm. Uh, yeah, that's

2:30

all.

2:30

It's all I got in my life. What

2:32

is your, what is your favorite moment

2:36

or appearance that you've done on

2:39

this,

2:40

whatever this red letter media is that

2:42

you call it? Yeah. It sounds niche.

2:44

Uh, hmm. Uh, there've

2:47

been some funny moments. I think the funniest

2:49

one we've done is the osteoporosis

2:51

dance episode. I agree.

2:53

Where Mike, Mike just, yeah,

2:56

he breaks me. Uh, which he

2:58

tends to do and his hatred for the elderly.

3:02

I was, I was just losing that one in particular.

3:04

I was, I was just dying laughing and

3:07

I don't think I recovered. So I'm,

3:09

I'm really curious. Do you actually

3:11

think there's no such thing as a bad movie? Is this like

3:14

a true principle and you're trying to

3:16

spread the word? Uh,

3:19

I think a couple of movies, I think black

3:21

devil doll

3:22

from hell. You're always ragging on black devil

3:24

doll. I think that movie had

3:26

a good movie. I think I was outright

3:29

saying it in the episode that this is a terrible

3:31

movie and do not watch it. It is awful. Okay.

3:33

There are a few movies that we've disagreed

3:36

or just been like, no, it sucks. Um,

3:38

I watched a, there was a movie called sledgehammer

3:41

that I was just like, this is terrible. It

3:43

was a David Pryor movie. You

3:45

also didn't care for a chairman of the board with

3:48

care top. I still found things to like about it.

3:50

So we always like find something

3:52

we like about it. Yeah. But, uh, yeah,

3:55

I mean, we've watched some

3:56

of the pretty notorious bad movies.

3:58

We did master of disguise. Not

4:00

too long ago. Which

4:03

was great just for hearing about

4:05

that 9-11 story. Yeah,

4:07

I think it's a little exaggerated, but

4:10

there is some truth to it. I don't think

4:12

it was literally they found out. No,

4:15

no. But they did some sort of weird

4:17

memorial or pre. Yeah, we found

4:20

out. It was done after

4:22

9-11, but he was wearing the

4:24

turtle outfit and they did a little

4:27

kind of moment of silence for

4:29

9-11 before going right into shooting with

4:31

the turtle. I'm looking

4:33

at some of these films. I looked up

4:35

Black Devil Doll from Hell. Oh

4:37

my God. You got to see that. One of

4:40

the stills does remind me of Chucky

4:42

from Goosebumps, so that ties in pretty well. Oh,

4:44

yeah. That's right. It's

4:46

a very sexual movie. Yeah,

4:51

if Chucky had sex with women on screen

4:53

many times. Did Chucky

4:55

ever fuck in those movies? It

5:00

just makes you so uncomfortable. Oh my God.

5:03

It's not bad. I want to comment just so

5:05

the

5:07

titles that you've listed as

5:09

just ones that are just irredeemable and so

5:11

bad

5:12

that you're considering

5:15

changing the name of your podcast. Where

5:19

do you find these films? Are they all viewer

5:21

suggestions? A lot of them seem really

5:23

niche, and that's also Red Letter Media,

5:25

Wheel of the Worst is also a lot

5:27

of these things. Where are these coming from?

5:30

Does this have an IMDb page sort of thing? Well,

5:34

when we first started, we just picked.

5:36

We used to do two movies an episode, which we don't do anymore,

5:38

but we would just

5:39

pick them. And we often had a theme. Sometimes

5:41

it would be like, OK, two horror movies, or we

5:44

did two movies with Judge in the title or something

5:46

like that. But it became too hard to do two

5:48

movies, so we just did one. And once we did

5:50

that, we just started taking turns picking.

5:53

So every week, another person would pick, just kind

5:55

of like you guys do. And then we also

5:58

have on our Patreon. If you're

6:00

subscribed on the $2 level and up, we have

6:02

a lottery. So every

6:05

couple months, I pick a patron and

6:07

they get to pick any movie they want as

6:10

long as it's available for us to do. Yeah,

6:13

and not for a Patreon episode, but the main feed.

6:15

Yeah, there's no niche ones though. I think the

6:17

weird ones, especially the ones that we mentioned,

6:20

are all from Justin. Yeah, so he has

6:22

an insane encyclopedic knowledge

6:24

of every movie ever. He has multiple

6:26

movie podcasts. He's very knowledgeable.

6:29

And yeah, a lot of them are either

6:32

weird things that people have either suggested

6:34

to him or he's found through lists

6:36

on Letterbox. And it's stuff

6:38

that we've never heard of. A lot of low-budget

6:40

streaming things too, but we've found some

6:43

good discoveries that way. Yeah, not

6:45

Black Deviled All From All. Well, hey,

6:48

we're talking about it so much, you guys are going to have to review

6:50

it. I've added it to my watch list. It

6:52

seems fascinating. Great

6:55

Halloween movie. I'm clawing

6:57

at my legs right now. Oh, come on. So

7:02

does it get exhausting to

7:04

kind of... It seems

7:06

like your conversations on your podcast are

7:08

just like, let's find the most exhausting

7:10

fucking possible thing that we could possibly watch.

7:14

Do you have any regrets? No,

7:16

do I have any regrets? Well, a

7:19

lot of times, someone will pick a movie that they

7:21

like but they know is bad and then everyone else

7:23

hates it. Fun man. You

7:25

know, like X3 or something. Yeah,

7:28

it's usually the boring ones. I

7:30

find even though

7:32

there's really nothing to talk about, we just sort

7:34

of veer off and just talk about whatever.

7:37

Yeah, that happens a lot. Those are honestly the

7:39

most fun episodes and I find... I

7:42

look at my notes that I take before recording

7:44

and it's like, I got nothing to say about this movie. And

7:46

usually those are the most fun episodes

7:49

to record because we just shoot the shit.

7:51

Yeah, exactly. And then we forget that we're

7:53

supposed to be talking about the movie. Oh, yeah. Well,

7:56

I'm about to start a competitor podcast called

7:59

Always Something to See. say about a bad movie

8:02

just to prove you're wrong. There

8:05

are bad movies. Alex, do you have any questions for

8:08

our guests before we start

8:10

the cubes? I found something really random

8:12

that I got a beef with Colin over a little second

8:14

ago. Hell yeah. What? I

8:16

was looking up. Yeah. No, I

8:19

was just scrolling through IMDB, seeing all these

8:21

credits from Twilight to whatever

8:24

and all this kind of stuff. But it was more

8:26

the acting section that caught my eye. 2006 is

8:29

the wild. You're

8:32

credited for a character. I found this video on YouTube. If

8:34

you're doing this like British acting,

8:37

what is the story behind this? Oh

8:40

no. It's

8:43

available on Disney Plus if you ever want

8:45

to see it.

8:45

The movie. It's the movie.

8:47

Yeah, the movie. That was a DV. Okay, so I

8:50

worked on the movie. I was a lighting artist. The

8:53

director Spaz Williams, Steve

8:55

Williams, he worked at ILM. He was the guy who did the

8:58

Tyrannosaurus Rex for Jurassic

9:00

Park. He did T1000. This

9:03

was his directorial debut. He

9:06

came to Toronto where I worked. He

9:10

would just get me for doing temp voices. They

9:13

would be constantly working on the script. They

9:15

would have the storyboards. Then, Jesus'

9:17

story came down one day and he's like, who can do voices?

9:20

Like, all right, Colin, come upstairs.

9:23

Do William Shatner for this line

9:25

and blah, blah, blah, and this and that. They

9:28

were supposed to get, I think

9:30

I could probably

9:31

say it, they were

9:32

trying to get Johnny Rotten from the

9:34

Sex Pistols, John Lydon. This

9:39

was me doing a stand-in voice

9:42

for him, not

9:44

even knowing what he really sounded like. Then

9:47

that fell through and then the director ended

9:49

up just

9:50

thinking I was kind of funnier anyway and just

9:52

wanted to keep me in. So there you go.

9:55

Yeah, so that movie should interest you,

9:58

Alex, because it's like the bizarro. Madagascar.

10:02

Have you seen it Alex? I haven't seen this one, no.

10:05

I've always seen that poster. Same. It's

10:09

like a big Disney production, right? But it's only

10:11

got like 27k ratings and stuff.

10:13

I guess Madagascar took its thunder or something. Yeah,

10:16

it was supposed to come out I think the year before Madagascar

10:19

and then production got soup. And they

10:21

were based on the same script, right? Yeah, similar

10:23

idea. So they were trying to... Yeah, a plug play thing. Exactly.

10:27

Yeah. That's Streamworks MO

10:29

pretty much. So yeah, we were going

10:31

to kind of beat them to the punch and then our

10:33

production just got, you know, fell behind

10:36

as it happens. And then they came ended up coming

10:38

out a year before us. So

10:41

by the time that movie came out,

10:43

it was known as the Madagascar ripoff.

10:45

Well, if you had all of your character

10:47

designs to be like blocky cube

10:51

lion instead of real regular

10:53

lion, then you probably would have went out faster.

10:56

Yeah, exactly. Had to get that realistic

10:58

looking fur. Yeah, I know. The fur glove.

11:00

But if you want to know more about the wild,

11:03

we did an entire syncable commentary

11:06

track on it on our Patreon for

11:08

our podcast. So check

11:10

that out if you want to know more about it. Which

11:13

is weird. I didn't even think it came out

11:15

on Blu-ray, but it's an HD

11:17

on Disney Plus. But

11:19

yeah, I think they just released a few DVDs. So

11:21

that little thing on YouTube, Alex, is one

11:24

of the, I think the only DVD extra

11:27

that came out. That's just you. Yeah.

11:30

And by the way, he's only in one scene in the

11:32

movie. Yeah. It's a very short scene, but pretty

11:35

funny. Oh my God. My birthday

11:37

is on the poster. It says, hitting the streets

11:39

April 14th. Oh, yeah.

11:42

Damn. That's what happened to you.

11:45

You hit the streets. I became wild

11:48

in hitting the

11:51

tagline, start spreading the newspaper.

11:54

Oh God. Is that the tagline? I mean, that's

11:56

what it says on the poster.

11:59

IMDB

12:01

and they have New York. They're only in New York for

12:03

like one scene. I think oh, yeah,

12:05

it's a real led Jason eight Exactly.

12:09

Yeah, right in the 13th part eight. That's

12:11

very funny

12:13

Anything else Alex before we

12:15

get give it you throw a couple of episodes of your podcast

12:17

you'd recommend is good particularly good

12:20

episodes People seem to like

12:22

the jingle all the way episode that

12:24

did a lot of moral combat annihilation

12:26

did pretty big numbers The

12:28

Grinch two Christmas of the group

12:31

for whatever reason French. We just sounded miserable

12:33

on well because we were just so angry I hated that

12:36

That's a thing. It's the message But

12:38

I remember my friend listened to the Grinch episode and

12:40

said like it sounded like we had all had a fight

12:43

before we started recording He

12:48

could send some attention it says we all hated the movie so

12:50

much. Yeah, it's like some of them I

12:53

mean some it depends when we record

12:55

so now we record like in the morning usually like

12:58

We're recording right now in the afternoon, but sometimes

13:00

if we record in the evening, you know We've had a couple beers

13:03

it can get a little rowdy. I get cranky

13:05

when I come home from work and have to record Usually

13:08

in a bad mood. Yeah That's

13:10

where we record early switch the mornings delightful.

13:13

Everything is great

13:15

How so I was actually thinking about

13:17

revisiting jingle all the way at some point

13:20

Doing like a watch along or something on my stream. Is

13:22

it like I have I have a nostalgia for

13:24

it It doesn't hold up. You're not necessarily

13:26

like in a

13:28

well, it's good. I never watched

13:30

it as a kid, but I

13:32

Kind of thought a little bit and we were like, oh it's

13:34

terrible But when we did it for the podcast

13:36

we were like actually it's kind of funny It's

13:38

I actually have a new I have a new

13:41

appreciation for it It's funny that

13:43

like everyone in it is just

13:45

so awful as a person You

13:48

just like despise everybody in this

13:50

film. So in that respect, it's

13:52

it's you know, it's a good time Yeah, I mean

13:54

sin sin bad is quite a quite

13:56

a large. Yeah personality in like

13:59

so many I'm not saying that many jokes like have an age well,

14:01

you know, it's been bad, it's been like to blow up like the radio

14:04

station. I definitely think it would make a fun,

14:06

like a funny like stream or like a, like

14:08

Adam and Paul's video or something. Okay. Jeremy.

14:11

You know what I'm thinking about it. Jeremy. Alex,

14:14

we should try to remember that for Christmas

14:16

maybe. Hmm, yeah, good suggestion. I haven't

14:19

seen that since I was a kid. Crazy. Same.

14:21

From memory even, yeah. It was like one of my favorite movies

14:24

as a kid.

14:25

Great

14:27

recommend for Christmas if you're looking to

14:29

do something really good. A Black Devil's Doll from Hell.

14:32

Is that a Christmas movie? No, no.

14:35

I don't think so. Okay, well. All

14:39

right, we're gonna talk about

14:41

the cubes.

14:43

We're gonna talk about all the cubes. We're

14:45

gonna slice them and dice them. Is the Halloween

14:48

episode, also our 150th episode

14:50

by the way of the podcast. Congratulations.

14:52

Oh, congratulations. We're recording this a little bit early,

14:55

still in October, but

14:58

the episode should be public on the

15:01

30th. So right before Halloween.

15:04

Oh wow. It all

15:06

makes sense, the stars align. It

15:08

all came together. The cubes aligned. Doing

15:14

the most Canadian movies. I feel like I have

15:16

to stand up for the national anthem. Well,

15:18

except for the remake. Oh, that's

15:21

the most Japanese movie. Yeah.

15:25

The movie three couldn't be more Canadian if they tried.

15:27

Yeah, I feel like that's just a normal Japanese

15:29

game show. Oh yeah,

15:31

that was a life in prizes. Nisubi

15:35

was in it. Yeah, do you wanna, so

15:37

Colin, you begged

15:40

us to do cube. You said, I will not

15:42

do any film that's not cube. I

15:45

think that was April. That was me. Was

15:48

it you? Yeah, she's obsessed with

15:50

this movie. Colin, you were the one that, you said you

15:52

had a hand in it when

15:54

it came out. I have a connection

15:56

to this film. So no matter if we keep talking

15:58

about that now. Or should I? Please,

16:00

yeah, tell us why we're cubing

16:03

time. Okay, so I'm a VFX artist,

16:05

like I said, and he had the place that did the wild,

16:07

it was Core Digital Pictures. It

16:10

was William Shatner's effects company in Toronto.

16:14

And the owner, so

16:17

filmmaker Norman Jewison who did

16:19

Fiddler on the Roof, he did Jesus Christ Superstar

16:22

in The Heat of the Night, he's got a film

16:25

school in Canada. Oh, he did Moonstruck as well.

16:27

He's got a film school in Canada called the Canadian Film

16:29

Centre. And they have like a, I

16:32

don't know if it's like a couple of years or a three

16:34

year long program or something

16:36

like that. And the owner

16:38

of Core was on the board of directors.

16:41

And I think at the end of

16:43

the program, all the director

16:46

students pitch an idea and then

16:48

the film centre picks one to make into a feature

16:51

film. And then they get a lot of people to sort of donate

16:53

their time. So they get like professional

16:55

crews kind of volunteering and stuff like that. And

16:57

then Core was offering

17:00

free effects. So Vincenzo got

17:03

this made and then Core did all the effects in

17:05

the movie for free. So I didn't

17:07

personally work on it, but I was there at the time. And

17:10

then a couple of my friends did most of the effects that

17:12

you see on screen as a favour. And

17:15

I think I read that this was the first film

17:17

that the Canadian Film Centre produced.

17:20

And I think they do it every year now. And

17:23

from then on, I think Vincenzo became really

17:25

good friends with Core. And

17:28

I think they did all of his movies up to splice,

17:30

I think.

17:31

Yeah, they continued to work together. This

17:33

was the first film made

17:36

in Canada ever. Ever.

17:39

That's right. We didn't have movies before

17:41

Cube.

17:42

Yeah, that's it. We only

17:45

had 2D animation and we called it

17:47

Square.

17:48

Yeah. Jesus

17:51

Christ. Now it's in three

17:53

dimensions. As soon

17:55

as we invented the third dimension. And

17:58

colour. That was it. Yeah,

18:00

color pretty important. Off and crazy. Right?

18:04

Um, yeah, so this is a, uh,

18:07

I, I watched this when I was younger. Alex,

18:10

is this your first experience with cube or did, have

18:12

you seen it before? No, I watched cube. I

18:14

was quite a fan of this movie when I was younger, seen it

18:16

a couple of times, but I haven't seen, uh, the

18:19

rest of them before. But yeah,

18:22

we'll get to those. We will. We'll

18:24

get to those in detail. Yeah. So I

18:26

guess, uh, anybody listening, you probably should have

18:29

watched the movie. I've already, but, uh,

18:31

we'll give a little brief synopsis. Basically,

18:34

uh, people wake up, they're

18:36

in a cube. They

18:38

say, get me out of here. I didn't do anything. And they

18:40

try to get out of there. Will they get out before

18:43

the end of the movie? I don't know. There's

18:46

traps. There's drama.

18:47

There's math.

18:49

What more could you want? That's basically the

18:51

whole movie. That's all I know.

18:53

Literally everything you need. Yeah, I'm sold. It's

18:57

actually kind of surprising because this is a very, you know,

18:59

it's a low budget film. And

19:02

I guess one of the little tidbits about the

19:05

filmmaking and the practicality of it is, is

19:08

they repurposed the

19:10

same room over and over and over and just

19:13

had different lights behind the panels, basically.

19:16

But at no point during the film as you're watching

19:19

it, does it feel like, oh, it's just the same room. There's

19:21

a very clear sense of continuity

19:23

in space. And it's

19:26

cheated well enough

19:28

that it's never not convincing in that sense.

19:30

I agree. They had one, like

19:33

one and a half or one and a third of the

19:35

cube. So they had like, so when you're looking through

19:37

the hatch, there's another wall over

19:39

there because we're trying to figure out, like, okay, was that an effect?

19:42

No, because they couldn't afford an effect like that.

19:45

So they had another wall there. And like, when

19:47

they're shooting, they're just trying to use

19:50

as much of the space as possible. So

19:52

they're like right to the edge of where, you know, like the

19:54

fourth wall would be. So if they moved like an inch, you

19:56

would see the side, basically.

19:59

But when you're watching it, I never think

20:01

about that. I feel like I'm in this big

20:04

structure. Yeah, they did it. It's very

20:06

cleverly planned. It does

20:10

the absolute most, I think, with what they had.

20:12

Yeah, and you never feel like the

20:14

location is getting boring because they kind of change it up. Yeah,

20:17

as far as the light goes. Even though it's just color. Yeah,

20:20

so they actually originally planned to shoot it in

20:22

sequence, which is a very first time filmmaker

20:25

idea. Because it's

20:27

so great seeing how these characters kind of grow and

20:30

change, but he thought

20:32

that how long is it going

20:34

to take to change the gels? It takes

20:37

at least an hour, and then it would take even more.

20:39

We can't do that, so we have to

20:41

shoot all the red room stuff first and all the white

20:43

room stuff another day. That makes

20:46

it harder on the actors,

20:47

but I

20:49

think they all did a fantastic

20:50

job. They didn't have the light panels

20:52

that you could just ... like they do now. Like the LEDs,

20:55

or you can just change the color after the fact.

20:57

Yeah, from your fucking telephone. Yeah,

20:59

it's insane, which I think the Japanese

21:02

one did. But yeah, for this one, I think

21:04

they had to manually change all the gels

21:06

on all sides. It was gels.

21:08

Yeah, and then the actors were complaining

21:10

that it was so hot in there because you're essentially

21:13

in a light box. Damn it, that sucks.

21:15

Didn't even think about the heat. It

21:19

has a great sense of continuity

21:20

despite that. Shout

21:22

out props to script supervising

21:25

and all that, but also the makeup, because

21:27

you can tell over the course of the film, their lips

21:30

are getting more chapped, the implication is they're getting

21:32

more dehydrated. Yeah, getting sweaty. And

21:35

also the acting, it's not

21:38

the best acting. I do have some criticisms

21:40

with the acting, but it doesn't feel like

21:42

it's shot out of order. That's one thing that

21:44

the continuity of

21:47

the film is actually really well done, and

21:49

that's kind of impressive.

21:50

There's a real scrappiness

21:52

to it, especially when you look

21:54

at, we said low budget, but 365,000 Canadian.

21:59

That's pretty crazy. I'm never really thinking about

22:02

that. Yeah, that's really impressive to me.

22:04

And it was that production design that was carrying it because

22:07

as Adam pointed to, there's some funny

22:10

acting, which is part of the charm to me. There's

22:12

a corniness to some of these performances. Some

22:15

of the line deliveries. Some of the line,

22:17

some of the degree. There's some age concepts

22:19

that I don't know if we'd really be playing with in the

22:21

same way now. Yeah, but I like this

22:24

one. I was quite a fan of

22:26

this coming back to it and experiencing

22:28

the cube. It's got

22:29

a really good concept. And I think I liked

22:32

it better this time. I've only seen it once before

22:34

in the theaters when it came out. I

22:37

think it only played

22:39

very briefly in Canada. I think it was

22:41

a huge bomb here. Yeah, it was. It

22:44

was world-widely released, but the

22:46

gross is like, I had to be under a

22:48

million. I think in Japan it made a lot of money and

22:51

in Canada it made nothing. So I think I caught it on

22:53

the first weekend because it was probably gone

22:56

by the second weekend. I went

22:58

to the Toronto International Film Festival and it won the

23:00

Best New Filmmaker or New Director Award. Oh,

23:02

cool. I just want to point that out. First Canadian

23:04

film is what it won. Yeah, I've ever

23:06

known. They had to create the award just

23:09

for that one. The award

23:11

has existed for a long time, but this

23:13

is not the first one. What I heard is that

23:15

someone, like a distributor

23:18

from France,

23:19

saw the film in Canada and saw its potential

23:21

and then gave it a French release where it did fairly

23:24

successfully and then wound up,

23:26

you know, the success in France wound

23:28

up propelling it to other countries as well. But

23:31

for whatever reason, it just appeared in Canada.

23:33

They just gave up on it. But,

23:36

you know, another part of filmmaking

23:38

and making a film successful, especially in 1997, is

23:42

the marketing and what they wound up doing

23:44

for the French release is they put money into

23:46

advertising. They let people know that it exists.

23:49

Oh, my God. Which is a big thing and people just forget

23:51

that even if you have the

23:53

best fucking movie ever, if nobody knows that you can watch

23:55

it in a theater and you can watch it anywhere, like

23:58

people aren't going to see it. So.

23:59

Good reminder for everybody. It's crazy.

24:02

It's like Netflix. If it came out of Netflix, you'd

24:04

never even know it was on Netflix. It'd be buried somewhere

24:06

like, yeah, it

24:09

would. It would get I'm

24:11

thinking of ending things and no

24:13

push for Oscars. And then the Academy

24:16

doesn't even know that movie got released. It was

24:18

like, OK. Yeah,

24:21

so I mean, this was my first time revisiting

24:24

it. And I think I liked it a

24:26

lot better this time. And I think I especially

24:29

after watching the sequels, I appreciated it

24:31

a lot more. Yeah. Oh, yeah. You really you

24:33

really figure out like what it gets right when

24:35

you think. Exactly. Yeah. Parallacy,

24:37

you know. Yeah. But give it a simple things like the

24:40

using those colors, not only just to

24:43

keep things varied or kind of trick the view into thinking

24:45

that the room is changing, but like, you

24:47

know, linking it so when that when it's red, they have

24:49

more of an argument and using the blue

24:51

for when they're problem solving. And yeah,

24:54

there's some smart ideas going on. And

24:57

just yeah, going back to that scrappiness,

25:00

another fun thing in ways, it almost feels like

25:02

a proto sort of me, you know, it's not

25:04

really like solving. Yeah, totally. It's

25:06

not really like they're not given the

25:08

framing of like the serial killer of making

25:10

them solve

25:12

traps or whatever, but that whole like bottle movie

25:14

problem solving element and the gore,

25:16

of course, like the the opening

25:18

kill with the cheese wire

25:20

cutting people up. And it's all it's all fun in

25:22

how they they achieve that stuff. Yeah,

25:25

that's kind of what I'm waiting for.

25:27

That's really done well, that opening. Oh, yeah.

25:29

Fantastic. It's it kind

25:31

of shocked me how well it held up, and it's probably one

25:33

of the better ones that I've seen 100 percent.

25:35

Well, they did have practical effects

25:37

that were also like, I

25:39

forget the name

25:40

of the studio, Caligari. They they

25:42

had to

25:42

be accepted payment just for the materials,

25:44

but they did all the labor for free. So that was also

25:47

like kind of like donating there. Yeah.

25:49

And like, yeah,

25:52

like that opening

25:52

opening sequences, it really kind of

25:54

gets you in the space of the

25:56

movie. And it's like, OK, it's really, really gruesome.

25:59

But like. Later on, there's another death,

26:02

pretty good death by traps, but everyone

26:04

else who dies is not

26:06

killed by a trap. True. The dynamic

26:09

of the people, they end up murdering each

26:11

other. And that actor, Julian

26:13

Richings. Oh yeah, there's a joke about him

26:15

that he's in every Canadian movie

26:17

because he practically is. Yeah,

26:20

we've seen from time to time walking around Toronto,

26:22

he just has the most unique look, it's

26:24

like his face is so interesting to look at.

26:27

Yeah, he's in every Canadian

26:29

TV show and movie

26:31

you can imagine. He always pops up. He

26:34

was in Beaux is Afraid.

26:36

Was he? He has a credit. God,

26:39

he got 228 credits. He's a busy man.

26:42

Yeah, he's in everything. Oh yeah, and

26:44

he was in, so Vincenzo Natali

26:46

did an episode

26:48

of Cabinet of Curiosities, that's Vincenzo.

26:51

Yes. I don't know if you guys have seen that. Here's

26:53

a fantastic show. And he's with David Hewlett. Yeah,

26:56

David Hewlett, who I absolutely

26:59

love. But I got the chance to see this

27:01

movie in a theatre for the 20th anniversary.

27:04

They were doing a screening of it in Toronto

27:06

and that was great. So

27:09

some of the actors

27:09

were there, Julian Richings was there, Maurice

27:12

DeWint, the

27:15

lady played Holloway, Mark Corvin

27:17

who did the score was there. Some of

27:18

the production people, they talked a little bit about it. Vincenzo

27:21

did like a phone in, like a Zoom pre-recorded

27:24

thing. But it was wonderful

27:26

to see it with an audience because obviously

27:28

I'd never seen it with an audience before. And the

27:30

thing that really stood out to me was the gore.

27:33

At that point, I hadn't seen it in about 10 years, but

27:36

I kind of forgot how

27:37

violent it can be and

27:38

people were like, oh, that was pretty

27:40

neat. I think this movie,

27:43

even though, you know, most people

27:45

don't get killed by the traps and

27:48

there's moments of gore,

27:50

they're done so effectively and they're done at the right

27:52

points in the story. There's a reason why there is

27:54

a trope for the opening kill.

27:56

It's so that it sets up the stakes. Right. So

27:58

if you know what the movie is.

27:59

is willing to do to its characters

28:02

and if you know in how

28:05

convincingly of a way or how interesting

28:07

of a way or how terrifyingly of a way

28:10

that it's going to present it then that gives

28:13

you enough information to be scared

28:15

for the next characters or to know that oh death

28:17

is on the table here this isn't like a fucking PG

28:20

movie these characters

28:22

could die and it helps

28:24

imagine the stakes and imagine the world that

28:26

you're supposed to be involved

28:29

in and even if that next kill

28:31

doesn't happen for a while it's kind of like

28:33

that tension is sort of hanging over everything

28:36

we need to feel as scared as the characters

28:38

yeah I think that's what is so one

28:40

of the things that's so great about this movie is it kind

28:43

of puts you in like their mindset

28:45

like what if you were in this cube

28:47

you know what would you do and seeing

28:49

them slowly kind of figure

28:51

out you know these things about

28:54

themselves and these numbers and you

28:56

know trying to figure out the puzzle that is

28:58

that is the cube it's

29:00

fun to kind of try and

29:02

figure it out with them and you kind

29:04

of feel like you're along for the ride that's kind

29:06

of how I feel about it yeah and like you

29:08

said the saw movies but it's kind of like the same

29:11

thing with like the original they kind of like wake

29:13

up you know not anywhere

29:16

they are have they got there yeah like

29:19

thrown into the situation

29:23

with these characters and you know you're kind of figuring

29:25

it out well like talking about the characters

29:27

I think the the greatest strength of this movie

29:30

is the dynamic between the characters

29:33

I just love how how diverse they

29:35

are they all look very different and they

29:37

all have kind of these very different viewpoints

29:41

not the case

29:41

necessarily with the later movies but we'll

29:44

we'll get to that but I

29:46

love how you know I think that yes there

29:48

are some cheesy lines but I think

29:50

it is a really great and I think that

29:53

well the character work is like everybody kind

29:55

of you see them kind of as one thing and then

29:57

they slowly kind of reveal

29:59

themselves to be something else. You think that

30:01

Levin is just a helpless

30:04

little girl and she ends up being like the smartest

30:06

one there and she's

30:07

like super key to getting them out. Obviously,

30:11

Quinn, he has these grand

30:14

ideas of himself. Great depiction

30:16

of a cop in media way ahead of

30:19

his time. I wasn't a hallway

30:21

like a conspiracy nut as well. Yeah,

30:23

she's like a doctor but she kind of seems

30:26

like a, yeah, kind of a bit of a nut but

30:28

then she ends up being the

30:30

most compassionate one when

30:32

they end up meeting Kazan and her

30:35

just like caregiving

30:38

nature just takes over and she's like,

30:40

we're still human. It's all we have left.

30:44

We have to look out for each other. Yeah,

30:46

like, Quinn reveals himself to be psychopath

30:49

basically and he has issues. What

30:53

I find fascinating is that in a film

30:55

with some questionable performances,

30:58

Kazan didn't feel not

31:00

handled properly. Kazan, that's

31:03

such a thing where in so many other movies it's

31:07

like, what are you

31:09

doing? You don't handle it properly and it feels

31:12

kind of offensive or disrespectful but

31:14

this is one movie where it's like, oh, okay, no, this is like

31:16

a empathetic character.

31:18

It doesn't seem like a mocking performance. It seems

31:20

like a perfectly fine one. The fact that

31:23

he's like one survivor by the end of it too is

31:25

like kind of a fun way to look at it. He's

31:27

like the most innocent of them all so he gets out

31:29

but that actor did do research

31:32

with people who have autism before the

31:34

movie and I think you can tell for sure

31:36

but something that they said on the commentary

31:38

track which I was able to listen to

31:41

the other day was that it's nice that this

31:43

is a character with autism. It's

31:45

not a movie about that.

31:47

It's just this character happens to

31:50

have a different mental disability and

31:54

he ends up being a savant.

31:56

Yeah,

31:57

which is good. I was getting a little

31:59

worried.

31:59

when he started kind of screaming,

32:02

I guess like he, the red

32:04

rooms that he doesn't like or something like that. Sensory

32:07

overload. Yeah, and I was like, oh no,

32:09

no, no, is this what this is turning

32:11

into now? Yeah, thankfully it

32:13

didn't become that. So yeah, he was just one of the characters.

32:17

But yeah, and he kind of added that level

32:19

of tension, like when they go into that room or

32:22

you can't make a sound, which is. Oh, that scene is so

32:24

good. That is a memorable scene,

32:26

it's fun. Yeah, that might be the best scene in the movie. Probably,

32:28

yeah. The tension actually really works

32:30

well. Yeah, they balance it very

32:32

well. You're just sort of on edge, like oh my God,

32:35

something's gonna happen. Yeah, and like,

32:37

yeah. Speaking of which, I think the sound design

32:39

in this movie is like super

32:42

key to it being successful. Yeah,

32:44

the fun is together. Especially, yeah, like that sound of the

32:46

door opening. Like obviously, that's

32:48

all manufactured. They had issues with the

32:50

doors shooting, apparently. They kept breaking, so

32:52

then they had to keep shooting scenes that

32:55

don't involve doors opening at all. They

32:57

only got them really to close by themselves

33:00

on the second last day of the shoot or something

33:02

like that. You all know disasters

33:05

that happened on a low budget film. It's that cheap Canadian

33:07

labor. Exactly, volunteers. But

33:10

yeah, like the spike room, I love the sound

33:12

of it just jutting out. And then

33:14

as it goes in, it has almost like a syncy

33:16

sci-fi

33:18

sound to it, it's

33:20

almost kind of

33:20

beautiful. And also, the score is great.

33:22

Mark Corvin, great composer, he did

33:25

The Witch. Oh. And

33:27

many other things I can't think of right now, but he's

33:29

really good. And he really

33:32

fought Vincenzo to get any kind of melody

33:34

at all in the music. And

33:36

there really is like that kind of one song that

33:39

plays a couple times, but otherwise, the score is very

33:41

atmospheric and minimal. And I think

33:43

that works. Yeah, it feels like it's kind of like

33:45

a lynching like

33:47

soundscape kind of thing. It just

33:50

like, yeah, it's sort of, I don't know.

33:52

You don't really necessarily notice it. It just adds

33:54

a little bit of extra. Just still do a dread kind of

33:56

like. Yeah, dread, yeah. Mm-hmm. Ha,

33:59

ha, ha, ha, ha, ha, ha.

33:59

Yeah, bah bah bah bah bah

34:02

bah bah bah. I love that song.

34:04

I think it's great. I like it. Yeah,

34:07

some good dialogue in this film. I do like

34:11

there are some fun kind of quippy lines

34:14

like the guy going like, suck

34:16

on it. Yes. Keep the saliva

34:19

flowing. Like that's a good little

34:21

mini reveal

34:23

or whatever we want to call it, the expectations being

34:26

subverted just

34:27

with the dialogue. Also

34:30

some words that might sound very

34:32

confusing to people who are not Canadians. Yes.

34:36

Saskatoon. They

34:38

mentioned Saskatoon. And

34:41

the characters will just randomly speak, throw

34:44

French words in there. And I'm like, oh my God, this is so Canadian.

34:46

Also mispronouncing French words, even

34:48

more Canadian. Right? Where

34:51

I wasn't exactly bursting with joie de

34:54

vivre of performance. And

34:56

they're calling it Ren's

34:58

and LFO 11 says to Quinn, she's

35:01

explaining some math thing and she just goes, bonjour.

35:04

Like hello, right? Like a valley

35:06

girl thing. But she just says it in French, which by the way, I've

35:08

never met anyone who said that. No,

35:11

they're trying to pretend that they're American. So

35:13

they're pronouncing it badly, you see. These

35:15

are totally not Canadian actors, April.

35:17

This is what happens when you give Canadians

35:20

Cartier Blanche to do what they

35:22

want. Saskatoon

35:25

is a city in Saskatchewan,

35:27

by the way. It's not great. There's

35:29

nothing

35:30

there. Which is a province

35:32

in Canada. Yes. Just

35:37

a lot of flat land. Some

35:39

of my relatives. No,

35:43

you have relatives in Saskatoon? Yeah.

35:46

That's why I've been there and I can say it's not good. They

35:50

say there's a line where they're

35:53

talking about the coordinates.

35:55

They're like

35:55

negative one and zero on zed.

35:59

Yeah, British in there nice

36:02

well Canadian Canadian Z is Ed

36:05

so it is British we use British stuff

36:07

some select Oh, yeah, we are in

36:09

the weird Yeah,

36:11

I didn't even yeah, I didn't even notice. Oh,

36:13

that's funny. Yeah We

36:16

we have little bits of other people's cultures

36:19

and we just don't

36:20

commit

36:21

in one But

36:24

I do say that down in the states I get

36:26

some looks like yeah Like what you

36:29

could call our country a bit of a hypercube in

36:31

that Yeah,

36:37

I pretty much I think I've said pretty much all

36:39

I want to say about this movie other than as Someone

36:44

who gets a little bogged down in the details sometimes

36:47

and I really want to understand things they present

36:49

the mathematical

36:52

element and They

36:54

say it and they're all you know in the context

36:56

of the film It's all very convincing in terms

36:58

of the characters realizing things and there is a sense

37:01

of discovery but

37:03

I was so confused about it in

37:05

the sense of Like okay,

37:08

you're you're saying these conclusions that

37:10

you came to but I really don't know how you came

37:12

to that get like when The

37:15

cubes are back in the original rotation

37:18

is not really something that was ever explained

37:20

in terms of why they would know That

37:23

I think Three

37:27

groups of numbers So

37:29

like all the numbers are like there's like

37:32

three digit numbers and there's three groups of them So

37:34

I guess they just deduced that those are the three

37:36

positions. There's only a certain number

37:38

of What would

37:40

you say like a word? Yeah,

37:42

well again commentary Vincenzo

37:45

because he's like calling out things that he doesn't like about the

37:47

movie and he's like They should have ran into more

37:49

empty spaces that would that

37:51

would have made a lot more sense Cuz it was like yeah,

37:54

cuz if they're shifting around that much there would be empty

37:56

spaces, right? But

37:58

yeah, what are you gonna do? Yeah He's like on his own

38:00

commentary calling out his film. Of course Like

38:07

hey you wrote it man. Yeah. Well, I mean

38:09

they did they consulted a

38:11

mathematician obviously to help create

38:15

The puzzles and the discovery and all

38:17

that and it's interesting and I

38:19

like how it's described and I like

38:21

the The whole like okay. There's like what

38:24

was it? 70,000 cubes

38:26

maybe or configuration

38:28

I think it was 26,000

38:30

There's

38:33

some sort of fan wiki

38:35

page that kind of goes

38:37

into the math

38:38

and I've seen not only What's on

38:41

the wiki but also the comments underneath it and

38:43

I feel a bit closer to understanding

38:45

what the hell's going on But I just yeah,

38:48

I'm not really it's Didn't

38:50

fully grasp it. I

38:51

would like to math in school As

38:55

soon as I could I was

38:57

pretty good at math, but I would need a refresher in

38:59

terms of

39:01

Getting back into the yeah Get

39:04

my cube license back Get

39:07

back into the hypercube class because you don't

39:09

use it for fucking 20 years because it's Come

39:13

on Most of they thought

39:15

it's one of those things in the movies that you kind of just have

39:18

to trust that you know Whoever's making

39:20

it. Yeah, whatever. So it's like when they

39:22

say, you know But was that the

39:24

core remember that movie the core when they said, you

39:27

know, we consulted with real scientists

39:29

Oh, yeah Everything in this movie could

39:31

happen and it was like the most ridiculous But

39:33

they had like the million like degree heat

39:36

on the other side of the door. Yeah It was

39:38

like nothing in that movie could happen. I'm

39:40

not a scientist and I know that

39:42

Remember it

39:43

in the movie frozen Adam Green. They

39:46

he said everything was real

39:48

Yeah Meaning

39:51

that everything and everything in front of the camera

39:54

was real they all got ate by dogs But

39:58

speaking of understanding what going on. That's one

40:00

of the things I really appreciate about this movie

40:02

is it knows where to draw the line with the mystery

40:05

element. They throw out the characters that are arguing with

40:07

each other, throwing out theories of like, what is

40:09

this cube? Is it a government thing?

40:11

Is it an alien? What's going on? And

40:14

they never feel the need to like drop the exposition

40:16

dumps that we get in some of

40:18

these sequels and some of these ridiculous explanations

40:21

that kind of ruin the whole mystery.

40:23

But it becomes too explicit. We

40:25

don't need to know and anything they could

40:27

have shown outside, it would just be disappointing.

40:30

A la the sequels. Like,

40:33

you know, they're lacking like tension or conflict

40:36

because that's what that's really what carries

40:38

it for me is that kind of villainous character of Quentin.

40:40

He is so much fun to watch his facial expressions

40:43

like, oh my God, he

40:45

bit together. He is an awesome like

40:47

villainous force. So

40:49

you don't even need to explain it. But

40:52

it could easily devolve into just

40:54

one of those movies. And it's like a pet peeve of mine where

40:57

it's just a bunch of people yelling at one another for,

41:00

you know, an hour and a half. And it's just so grating

41:02

to watch those types of movies. But

41:04

it kind of rides that line where it's like, okay,

41:07

yeah, it's not too much.

41:10

Yeah, I totally agree. Everybody has their own distinct

41:12

personalities. It's not just a bunch of people like

41:14

And like, yeah, the worst character he's like

41:17

mentioned that he was contracted and that little

41:19

twist of him like, he's involved

41:21

somehow, but it's still never really properly

41:24

explained exactly how and doesn't

41:26

really know all the answers. So yeah, they keep it

41:28

just the right level. Yeah,

41:30

like he gives an explanation to what

41:32

he thinks. But we really don't know if

41:34

that is the truth. He's like, I looked

41:37

and I could from what I could tell nobody is

41:39

in charge.

41:39

And,

41:40

you know, if that's your interpretation of it, I think that's

41:43

much scarier than what conspiracy

41:45

theorists think is there's always either like one

41:47

person or like this like elite group

41:50

up top who's pulling all these streams.

41:53

You know who just happened. It

41:55

could just happen and it could be built and then

41:57

they just decided to do it. to

42:00

just put people in it because it's there,

42:02

essentially. Like that's scary.

42:05

And not to get too far deep

42:07

into it, but if you look at it like for a metaphor

42:09

for life, we're

42:11

all just dropped into this world. We

42:13

don't know how, we don't know why we're

42:16

here and like

42:18

who is in charge. We wanna think that somebody

42:20

is controlling things or does

42:22

things for a purpose or for a reason. That

42:25

could be God say, but we

42:27

don't really know and we never will know. So we have

42:29

to just keep our heads down and look at what

42:31

is in front of us. And the other

42:33

thing I just wanna say I really love about this is like, you

42:36

think that it's just random people, but then you find that

42:38

they all have a skill that's necessary to escaping.

42:41

And that's just like, wow, finding that is so,

42:44

it's fun, cause you're like, okay, so

42:46

they all do have a purpose. They

42:49

have a function, they all have a skill.

42:51

What would we give this film out of 10?

42:54

Oh, 10 out of 10. I

42:57

thought it's in high school. In

43:00

a media class, I became obsessed

43:02

with it. One summer I watched it

43:05

every few days. So I have

43:08

a long history with this movie. You should see our place,

43:10

it's just like April's. We live in a cube. Yeah,

43:12

she's like scribbling. You

43:14

saw that greebling all over the walls. Yeah,

43:16

the walls are just covered with like numbers and equations

43:19

and stuff like that. Also, I just wanted to

43:21

point out, we kinda talked about it,

43:23

but the design on the wall of the cube

43:25

is so cool. And

43:27

they

43:28

never do that again in the

43:30

sequels. Yeah, boy do I bring it in.

43:31

Like apparently, the attention

43:33

to detail, like it's like art, right, it's beautiful. And then

43:35

apparently like Leven's glasses, when they

43:38

broke, they actually broke that in a certain way

43:40

to kind of mirror the look of the

43:42

panels on the wall. Yeah. Yeah,

43:45

also I just wanted to ask you guys, have you seen any

43:48

other of Vincenzo and Natalia's movies?

43:50

And did you like them?

43:52

I like Slice, but Slice is

43:54

pretty much Slice. I've seen he's done a lot

43:56

of TV, right? Like I like Hannibal

43:58

a lot, he's done like six episodes. episodes of that I think. Yeah.

44:02

And... In the Tall Grass came

44:04

out not too long ago. It's kind of a

44:06

cube-esque movie. But based on Stephen

44:08

King, right?

44:09

Yeah. Is it a cube-type film?

44:11

Yeah. It is. But

44:13

people

44:13

get lost in Tall Grass and they

44:16

can't

44:16

find each other. They can't get out.

44:20

Something kind of neat about that movie is it kind

44:22

of recreates a moment

44:25

from Cube where Quentin

44:27

is holding Holloway up and

44:29

something in his head just snaps and he

44:31

goes,

44:32

I'm just going to drop you. And he

44:34

does.

44:35

And that exact moment happens with

44:38

characters in the Tall Grass. And I was like, well, I got

44:40

that reference. I don't know if anyone else got that.

44:42

Oh, you know what's cool is him letting the doctor go because of

44:44

death. But

44:49

then when Quentin dies, it's because they didn't

44:52

let him go.

44:53

He gets crushed with the weight. Oh, yeah. He

44:55

held him back. He just got fired

44:57

off the other way.

44:58

Yeah. There was some callbacks.

45:00

Yeah. I remember the artists

45:02

working on all this stuff. So I had no context

45:05

for it. I hadn't seen the movie. So they

45:07

would be working on all the traps and stuff. And then

45:09

I saw that cube kind of smearing him

45:12

across the wall. It

45:14

was really cool. So kind of seeing

45:16

it in the theater is like, oh, OK. That's

45:18

what it's for. What would you give it out of 10?

45:21

I would say on

45:22

rewatching it. I

45:24

would give it a good seven. Seven.

45:27

Nice. It's

45:29

a solid for what it had to work with.

45:32

I think it does everything right

45:34

and

45:34

really kind of like

45:37

uses all those resources.

45:39

Yeah. I'm just like a tad

45:42

under that. I do appreciate

45:44

that scrappiness of it. I do love that about it. This

45:46

would be like a very high kind of six out of 10,

45:48

three star for me. It's

45:52

just too much about it. The

45:54

silliness levels. I love it for it. But

45:57

it does hold it back in certain ways for me. I

45:59

do love it. love when he gets smeared across the wall at the end

46:01

of the character. It's also one of the moments

46:04

I really wish they could have, I don't know, somehow

46:07

built something to display because he is kind of like

46:09

the villain of the movie and I would have loved to have seen his

46:11

end kind of match like the opening

46:14

scene in terms of that, those practical effects.

46:16

Yeah, yeah. They had a fake leg and

46:18

that was all because that's like in the cube after

46:21

he gets smeared. That's all they had. Yeah,

46:24

yeah, there's some age stuff about it. But yeah,

46:27

yeah, even from this conversation just thinking about the distinctness

46:30

of all these

46:31

kind of like six characters, but they are all

46:33

very memorable. They've all got their different

46:35

quirks. I like the dialogue that comes

46:38

from their banter and the tension that comes from it. And

46:40

yeah, it's a clever little movie. I do like it a lot. And

46:42

I'm giving this one a very high

46:45

five out of 10. I'm a monster. Let's

46:47

move on. You cube two hyper cube.

46:49

I liked it. I liked it a lot.

46:51

My rating system, everybody

46:54

listening to this. Well, we all know what that's

46:57

like. I don't know what I'm like. I'm a monster.

46:59

I'm not offended. It's okay. I figured

47:01

I would like it a lot more than you guys. But

47:03

it sounds like you did like it. I did like it.

47:06

I did like a watch a long stream to

47:08

it and it was the most I enjoyed a

47:11

cube film.

47:13

Well, if you're starting at five,

47:15

you know, I can only guess at what you're going to

47:17

give the next ones. Yes. This

47:22

one is the best title though. You've got to give it that. I

47:24

can't believe you would call

47:27

something hypercube. Is

47:29

this cube two like a like

47:31

squared like cube

47:32

squared? It is. Yeah, I think so. Stylistically.

47:35

Yeah. Cube

47:37

two colon hypercube. Yeah.

47:40

I just called it hypercube.

47:42

I have another connection to this movie. Uh

47:44

oh. Yeah. Not only that it was shot

47:47

in Toronto. We have a connection to all of these movies. Did you direct that? I

47:50

did not. Yeah, under a pseudonym, which I cannot pronounce.

47:54

So I mentioned that I was at core

47:56

who did the effects for the first movie. So when

47:58

I left court, I went to the next movie. I went to a company

48:00

called Toybox in Toronto. There's another

48:02

visual effects. My boss's name was Dennis

48:05

Berardi. And soon after

48:07

I started there, he quit and started his

48:09

own company called Mr. X. And

48:13

Mr. X, this was their very

48:15

first job after they split off

48:17

and formed a company. And they eventually became

48:19

producers on the third one. So

48:23

there you go. So I know all the people in the credits. Did

48:26

the visual effects.

48:28

You are to blame. I hope they

48:30

don't listen to this because I

48:32

don't have nice things to say about the effects of this

48:34

movie. It's like they misunderstood

48:36

everything that made the first one great. I

48:39

know. I mean, I cannot get

48:41

over the choice of the white walls.

48:44

It's a bad design.

48:47

They're so blown out the whole movie. Everything

48:50

looks ugly. And it's just like

48:52

a piece of like plastic.

48:55

Like it looks cheaper than the first movie. Way cheaper. It

48:58

couldn't have been. It must have had more

49:00

budget. It was five years later. That's crazy.

49:04

Cube to budget.

49:05

Yeah, there's some speculation.

49:08

I don't know if there's anything confirmed.

49:10

Some people are saying, I hear it was this much, but

49:12

it's like, I can't. Good

49:15

source. I heard it from a friend. Yeah,

49:19

it's the, yeah,

49:21

let's talk about the set design because

49:24

it's very bright for absolutely

49:27

no reason.

49:29

Which is weird because the director

49:31

is a cinematographer. I know, he's

49:33

a cinematographer for Pulp Fiction and

49:36

Resu-A-Ri-Dah. Resu-A-Ri-Dah. American

49:38

Psycho, yeah. Yeah, that's right. So

49:41

I can only imagine like

49:42

he built the set this way or

49:45

wanted it this way to make it easier

49:47

for lighting. Because I think he was the cinematographer

49:50

on this as well as directing it. So

49:52

maybe it just made everything easier. That's just like

49:55

turn the lights up. Yeah, maybe just no one,

49:57

maybe no one cared. And they were like, let's

49:59

just do this. as fast as possible and get paid

50:01

and get out because that's the feeling that I have. None of the actors

50:03

are acting like they give a shit. They're all

50:06

terrible and they and I like

50:08

okay, they're all Canadian actors again. I'm

50:11

not trying to be mean to my homeland but

50:13

these are like the D tier if the last actors

50:16

were like the A and B tier and

50:19

they're all acting like they don't care that they're

50:21

in a death trap like at all like

50:23

they're good. They're practically like quipping about

50:25

it and it was awful.

50:28

Yeah, the

50:31

pool of talent in this one

50:33

is

50:34

not quite the same. The guy with

50:37

the knife, I think he's

50:39

a main character in American Psycho 2 and I immediately

50:48

recognized him because I covered that recently

50:51

and for some reason it was also

50:53

the same costume designer and somehow

50:55

I pulled that out. I

50:58

looked at the name of the credits and I was like, Donald Wong?

51:02

The costume designer from American

51:04

Psycho 2? Was

51:06

that a Canadian movie? I don't

51:08

know. I think the first one

51:11

was definitely. Oh really? Was it? It

51:14

was Sean Toronto. Yeah. I

51:16

mean filmed in Canada versus Canadian

51:18

movie. There's a lot of movies filmed. Yeah, that's true.

51:22

But yeah, some weird connections to American Psycho 2

51:24

for no reason. I don't know why. Yeah. I

51:28

feel like I was looking up a bunch of the actors and

51:31

this one and maybe even the third one and American

51:33

Psycho 2 kept coming up. Yeah.

51:36

I don't know why. And Murdoch Mysteries. Well,

51:39

every Canadian actor has been on Murdoch Mysteries.

51:41

I think yeah, it's like a... Okay, he moved

51:44

to Canada.

51:45

Sorry. Yeah, pretty much. He's from Wales

51:47

and then moved to Canada. Sorry. Yeah,

51:50

Murdoch Mysteries has been going on for like 17 years,

51:52

I think at this point. But like every single cast member

51:54

has been on that show. Yeah.

51:56

And probably the Red Green Show at some

51:58

point. True. What the

52:00

red green show Alex, you know what the red green

52:02

show is? No, please explain what you're

52:04

talking about because you speak it You say again

52:06

in English for me. They like saying that

52:08

in these movies It's

52:11

just as bad comedy show it's a good

52:14

car show just terrible It

52:17

was a classic names, what does it mean? red

52:20

green is the name of the character and

52:22

it's a guy who is just like a

52:25

Canadian he dresses up in like plaid

52:27

the kind of lumberjack II and the

52:30

show is kind of like a It's

52:34

a common proof exactly Here

52:38

I'm gonna teach you how to be a handyman, but

52:40

he just uses duct tape for everything and

52:43

it just works And

52:46

so you guys were raised on it's got like 2,000 ratings.

52:49

Yeah. Yeah, right. Great. Awesome. There's a bunch

52:51

of it on YouTube There's some classic.

52:54

It's a part of our heritage. Yeah,

52:57

you like if you like anti comedy, it's great

53:00

I remember I

53:03

don't think I actually watched it I just saw like

53:05

a million commercials for it and then they had a movie

53:07

called duct tape forever Which why

53:09

are we talking about this? Well, I'm

53:12

just gonna point out the his sidekick red

53:14

green

53:15

Looks

53:16

like literally he was identical

53:18

to look in act and general presence

53:22

of my Youth

53:24

counselor at my My

53:27

parents made me go to when I was younger That

53:31

was funny All

53:34

right before this conversation turns into

53:36

a real hypercube, let's get back to the film

53:39

so we're talking about the sets There's

53:41

one part where actually a couple parts

53:44

where it almost just seems like they're green-screened

53:46

But I wasn't sure if they were because

53:49

the lighting from behind them was so blown

53:51

out and overexposed

53:53

Then that outline could have just

53:55

been because of how The lighting was so

53:57

it so it made it look like a green

53:59

screen

53:59

when I'm not sure it was. I

54:02

know that they did use green screen at

54:04

a couple points during the film, but

54:07

some of the characters were upside down. I was like, you didn't

54:09

even have to green screen that if you just thought

54:12

about it for a bit.

54:13

Yeah, it's very strange. Turn the camera. Well,

54:16

speaking of like, we were talking about how

54:19

great the original opens, like

54:21

the opening scene. What

54:23

the hell happens in this? It's like you're expecting

54:25

some kill or something

54:27

like that. She falls up. She

54:30

just like gets yanked up and that's it. Whoa.

54:35

You don't even know if she dies. No.

54:39

She does it, right? They're just laughing and then they get the hard catch.

54:42

Like cube, hypercube or something

54:44

like that. And it's not scarier

54:46

because there's no physics.

54:48

I don't know if that's what they thought was happening.

54:50

They're like, we're taking it the next level.

54:53

You're gonna think she falls

54:55

down. Uh-uh. Up. No. It's

54:58

scarier when you fall up because then it's

55:00

on your head when you land. Yeah. I

55:03

guess so. Oh my God.

55:05

But yeah, this movie also introduces

55:07

like time warp things, slow

55:10

rooms, fast rooms. Which

55:12

I mean, to its credit, I think that's

55:14

a good concept. There's, you know, if you're

55:16

gonna mix up the formula

55:18

for a sequel and you know, you've got the same

55:20

set, you've got to introduce some new mechanic,

55:23

I think. And there's a lot

55:25

that could have been done with that, that they

55:27

didn't really do. I

55:29

couldn't even follow like the plot. Like

55:32

maybe it wasn't paying attention. Like ruins the fundamental

55:35

rules, you know, like while there's still some crazy

55:37

sci-fi stuff going in that original and

55:40

kind of keep up with the characters. But here it's like

55:42

when they're talking about quantum teleportation

55:44

and these like jellables that like burn

55:46

you, it's like too much to try

55:49

and explain. And yeah, it just loses

55:51

that fundamental horror or

55:53

tension, like, in the head. What happens

55:55

to any of these people? Yeah, they're really

55:57

annoying. And one of my notes here is just annoying.

56:00

Remember the old lady? She was

56:02

straight out of M. Night Shyamalan movie. Hell yeah.

56:05

Yes. Here's what's weird about this

56:07

is they decided that everybody got

56:10

to keep their clothes in this one. So in

56:12

the original it was like, okay, their

56:14

clothes get stolen by whoever kidnapped

56:16

them or something. And they have essentially

56:18

prison uniforms with their names

56:21

on it. But the characters are so distinct

56:23

and likable and memorable that

56:25

you never need to like, they don't

56:27

need to be dressed differently for them to,

56:31

you know, for you to remember who's who and all

56:33

this shit.

56:34

In this film they're dressed differently, but

56:37

there's nothing to the characters. There's

56:39

nothing to that. Like they're very simple and basic

56:41

and pretty annoying.

56:42

Very annoying characters. Yeah, the characters are their costumes

56:45

basically. That's all I really remember about them

56:47

as people. That's just like lazy writing. It

56:49

is very. Women in a ballgown.

56:52

That's her character, basically. Old lady in gym clothes. The

56:56

ratings on this show just doubled. Is that a line?

56:59

That's a Todd Howard guy. Yeah,

57:02

he looks exactly like Todd Howard and he was a video

57:04

game developer. Oh yeah, he does. That's

57:08

the young guy. I thought for some reason he

57:10

reminded me of like a teenage

57:12

Jordan Peterson the way he spoke. I

57:17

don't know why. This is very strange. How

57:19

about when they have sex and there's sex

57:21

in the cube? We're fucking in the cube now guys

57:23

and they're spinning in the middle of the room

57:26

like a top. Like what was that?

57:28

And then they die? Well, so

57:30

here's what happened is they went to the

57:33

beach, I mean room that turns you old. And

57:36

also those dummies. I

57:39

don't know if they were supposed to be rotted corpses or

57:41

rapidly aging corpses, but they looked like something

57:43

out of a spoof movie. Like it really, really

57:46

did. Like I was laughing. That lighting is

57:48

not doing them any favors. And

57:50

they hold on close ups for

57:53

very long periods. It's like spirit Halloween or something. Oh

57:56

yeah. Yeah. The makeup

57:59

also near the end of the film.

57:59

I was like, is the implication that

58:02

he's getting older?

58:04

Or is he frozen? I

58:06

think they did Halloween

58:09

old spray paint on dead. I thought it was

58:11

frozen. I think it's older because it's

58:13

kind of. Wait, is he simple? I feel it's supposed to be older.

58:16

I feel it's supposed to be older because it doesn't make

58:18

sense. It's like a kind of

58:20

a time wave or something? Yeah, it

58:22

never implied that there was a cold room.

58:25

No, there was like an ice room, wasn't there? No.

58:28

Ice shards coming out of the wall? I think that was.

58:31

I don't think so. I think there was. No, those

58:33

weren't. Were those supposed to be ice? I

58:35

thought those were just supposed to be like random cubes.

58:38

Like glass. Crystal glass. Like something

58:41

like that. I don't think that was supposed to be ice. It's an utter

58:43

failure of the CGI that

58:45

we don't even know what it is supposed to be. See,

58:47

that sucks because in the original

58:50

film, sure, the spikes

58:52

are CG, but they're spikes. They're

58:56

metal adjacent. Keep it stupid.

58:59

Yeah, it's easy to understand. Yeah,

59:02

you know that you can get impaled by them. You know,

59:04

you can get like sliced by the fucking

59:06

metal wire. But when you're using

59:09

fucking crystal

59:11

CG, like we don't

59:14

know what the hell that is supposed to be. Now

59:16

we're all arguing over whether or not it's supposed to

59:18

be ice or cold or like. None

59:21

of us know. For four different

59:23

people to watch the same film and none of us have like

59:26

any solid comprehension. About

59:29

what that was supposed to be.

59:30

And it influences how we feel

59:32

about the makeup for a major character

59:35

near the end of the film. Is he supposed to be

59:37

old or cold? Old

59:39

or cold? We don't know.

59:42

That's insane. It just is

59:44

absolutely not being able

59:46

to communicate. It's a choice by the director to keep it ambiguous.

59:50

You know, what do you think? Is he

59:52

cold or old? Old or cold?

59:55

This is me. As the director, I'm thinking

59:57

this. Well, like also they made

59:59

absolutely. Absolutely no effort to

1:00:01

make them look like they had been in there for any

1:00:04

amount of time That just goes with

1:00:06

my comment is that they don't act like they

1:00:08

are even in a death trap

1:00:11

Really the scenes are interchangeable

1:00:13

you could take yes Oh, yeah, it means from

1:00:15

anywhere in the movie and place them anywhere in the

1:00:17

movie and it would flow just the same There's

1:00:20

no sense of progression. There's no sense of discovery

1:00:22

There's no sense of like, you know the

1:00:24

makeup in the original movie and the continuity there

1:00:27

or like the characters getting Angrier

1:00:29

with each other and having that happen in a realistic

1:00:32

empathetic sort of way

1:00:34

No, it's just it's all just fucking random. It

1:00:36

might as well just be random and it goes especially with the whole

1:00:39

The whole doppelganger thing. Oh,

1:00:42

yeah die and then duplicates of them just

1:00:44

show up later So like the deaths don't even mean

1:00:46

as much no The whole thing of like

1:00:48

the end of the first cube. It's like a triumphant

1:00:51

moment for that character But like

1:00:53

when the woman makes it to the end of this one It's like

1:00:55

I don't even understand what you did do

1:00:57

even get It's

1:00:59

just her vibe I guess and then like

1:01:01

she gets out and I also I hate that

1:01:03

we see outside And then they just blow her brains

1:01:05

out. So how am I supposed to feel about that? Oh,

1:01:08

yeah If

1:01:11

you ask me to even tell you which

1:01:13

character made it out I wouldn't have been able to say That's

1:01:17

so funny and then yeah you reminding

1:01:19

me about that that ending and it's a very

1:01:22

distinct ending

1:01:23

So I was convinced that I actually

1:01:26

hadn't seen this film

1:01:28

And then when I rewatch it I was like, oh, I

1:01:30

guess I guess I have at

1:01:32

one point at least once because some of it was

1:01:34

just kind of familiar And then at the very ending

1:01:36

I was like, okay for sure This is there's something

1:01:39

about this

1:01:40

that I definitely watched before

1:01:43

And I watched this two days ago and

1:01:45

now I've forgotten it again My

1:01:49

notes sort of like Peter out

1:01:52

by the end so I had to look up like how it

1:01:54

ended them like yeah What a man

1:01:56

just like the movie. Yeah. Yeah, but it's interesting

1:01:59

where you just said about them

1:02:01

going out of the cube and how that ruins so

1:02:03

much of like the world building and the mystique. They

1:02:05

do it another time in the movie when they're introducing

1:02:08

each one of those characters and there's kind of like

1:02:11

graphic montages for each one just

1:02:13

pointously visually explaining each one. Yeah,

1:02:16

the split screen. And it's like, why? It's

1:02:18

kind of ruining the atmosphere to

1:02:21

pull you visually out of, I suppose it's

1:02:23

like an ugly Apple store the whole time, but. Yeah,

1:02:26

exactly. I was like, is there

1:02:28

anything to get out of this bright

1:02:30

white, the heavenly light? It's

1:02:33

like, why? Like color is

1:02:35

such a strange choice considering

1:02:38

it is a cinematographer. Surely you'd understand the

1:02:40

mood

1:02:40

you can get over what you can communicate

1:02:43

with color, especially. It's just such a

1:02:45

baffling decision. I think it has

1:02:47

to be just for

1:02:49

efficiency. This is like probably.

1:02:52

Let's just make it all look ugly though. And

1:02:54

then we don't have to make anything look good. I'll

1:02:56

save money. I'm going to be the cinematographer. It's like,

1:02:58

I've never directed a movie before. Just

1:03:01

light the whole thing up, Johnny, and then whatever. Fuck

1:03:04

it, we'll do it live. Yeah, exactly.

1:03:06

Like you don't have to change lighting between setups. That's

1:03:09

a feeling. I don't think he cared. I think

1:03:10

he took the paycheck probably. There's

1:03:13

a really frustrating moment in this

1:03:15

film where

1:03:17

the character says out loud, the

1:03:20

gravity is shifting and then the camera turns 90 degrees.

1:03:23

It tilts 90 degrees.

1:03:25

The gravity doesn't shift. The character

1:03:27

has just walked the gravity in the same

1:03:29

direction as it was before.

1:03:34

There's so many interesting and creative ways

1:03:36

you can do this and still do it practically,

1:03:38

by the way. You can just cut

1:03:40

it at the right time where at the start

1:03:43

of the shot, they're in one position

1:03:45

where it makes it

1:03:48

seem as long as they're standing still

1:03:50

that they're in gravity in one particular way,

1:03:52

but it's not. And then you tilt the camera and

1:03:54

then you reveal that gravity was, you know, blah, blah, blah,

1:03:56

blah, blah. Yeah, like, Raimi's Spider-Man was like a year before this,

1:03:59

right? True. It was a similar kind of crew. And

1:04:02

especially with the set,

1:04:03

where like the floor could be the ceiling,

1:04:05

you don't have to do anything crazy to

1:04:08

achieve that effect. That's how they did

1:04:10

it in the first movie. You don't have to build an upside

1:04:12

down set. The set is an upside down set,

1:04:15

you fucks. You've

1:04:18

thought about this for a few

1:04:20

minutes at least. Don't

1:04:23

expect the director to have done the same. No.

1:04:26

He's just happy to be working. Man,

1:04:28

yeah, what a crazy, frustrating

1:04:32

film. Oh, yeah. It

1:04:34

made me angry. It's just rotten. And I'm like,

1:04:37

wow, okay, that first one is better than I give it credit

1:04:39

for at the time. And

1:04:41

I mean, if we're doing the thing we do in our podcast,

1:04:44

where we have to say something nice about it, the only nice

1:04:46

thing I can say is that it was laughably

1:04:49

inept and I laughed at it at

1:04:51

parts. So it's kind of the

1:04:53

hypercube, you get that kind of like floating

1:04:56

geometry. Oh my God, that thing, that

1:05:00

spinning cube, tetra, what do

1:05:02

they call it? Tesseract. Tesseract,

1:05:04

yeah. Oh, Tesseract, that's it, yeah. It looked like a rabbit. It's like

1:05:06

kind of folding in on itself. So it's revealed. Oh,

1:05:09

God. So it kind of opened a blind girl. Was

1:05:13

she actually blind or was that all fake? Wait,

1:05:15

I think we... It was a twist with her, but I can't

1:05:18

remember like what the reveal was.

1:05:19

She was some famous hacker that

1:05:23

built the cube. Yeah. I don't

1:05:25

remember that at all. She

1:05:27

hid from

1:05:28

people. She blew the whistle on something

1:05:30

and she's like, I went the only where at place they

1:05:32

wouldn't follow me into the hypercube.

1:05:35

Yeah, she found out, yeah, they were putting human,

1:05:37

it's like this company called Izon

1:05:39

or something that I think is behind everything.

1:05:42

And then she's like, I find out that they were like

1:05:44

putting people into the hypercube and

1:05:47

they were gonna kill me. So I escaped

1:05:49

by going into the hypercube. Yeah,

1:05:51

and I don't even remember how she dies, but... Izon

1:05:54

that owns the video game

1:05:57

company CyberThrill.

1:06:00

The other character

1:06:02

makes games for and he's gonna

1:06:04

sue them for some reason and they're like

1:06:06

you'll never win the lawsuit again There's

1:06:08

a lawyer. Yeah, they're all connected.

1:06:11

I represent eyes on Right.

1:06:14

Why so many characters? It's like what there's

1:06:16

eight main characters here. Yes, too much

1:06:18

way too many like I think there's seven

1:06:21

total in the first one, but the first guy gets killed immediately

1:06:24

and then

1:06:25

Yeah, then there's

1:06:26

six and then goes down

1:06:28

to five really fast. Is there a single good

1:06:31

like death scene? No, that's not

1:06:33

the most memorable stuff in that first movie Well,

1:06:35

the only one I remember is that CG cube

1:06:37

like sucking up the Jerry Whitehall guy

1:06:39

and like kind of dicing him You

1:06:42

look yeah, that looked terrible Yeah

1:06:49

that guy That

1:06:52

that's that super Canadian actor. Yeah,

1:06:54

like almost 300 credits or something That's

1:06:57

like he's been in a lot of commercials. Wait look

1:06:59

up any actor in the

1:07:01

Canadian TV show since the dawn

1:07:03

of time then it's all revealed that

1:07:05

the the blonde woman who survives to the end

1:07:07

was like a plant sent in by eyes

1:07:10

on to get Blind girls

1:07:12

necklace right that had all

1:07:14

the hacking information or something. Oh, yeah

1:07:16

in a release. I forgot And

1:07:19

then it's like but she's like in a pool

1:07:21

and it's it is that you enter the cube

1:07:24

and it's not real A real physical place.

1:07:26

I don't know be sure you know

1:07:29

Anything

1:07:32

Yeah, I don't know how it connects I mean other than

1:07:34

sort of taking the the concept of like

1:07:36

the cube and traps and whatnot I don't know

1:07:38

how it's supposed to connect to the first one like that

1:07:40

all so

1:07:41

I don't know I kind of got the sense that it was like

1:07:43

well People who thought the first one was boring

1:07:45

and you never got to see was outside We're gonna

1:07:48

make it cooler. We're gonna show you what boring

1:07:50

is yeah Really

1:07:53

awful

1:07:54

trap that Sequels

1:07:56

find themselves in or just people who don't know

1:07:58

what to do with an iPad making

1:08:00

a sequel where they think we

1:08:03

got to double it. Everything was good,

1:08:05

you got to double it, but

1:08:09

they don't understand what was good. What

1:08:11

was good about the first movie was that probably

1:08:14

there were a few thousand rooms or

1:08:16

ten thousand rooms.

1:08:18

So we're going to just have this line where the old lady says, in

1:08:21

a hypercube there could be 60 million

1:08:23

rooms. Isn't that crazy? The

1:08:27

physics are crazier,

1:08:29

there's more characters and there's more versions

1:08:32

of the same characters and none of them ever

1:08:34

really die and there's... Fuck,

1:08:37

it's just so convoluted and stupid

1:08:39

and nothing matters. They're so hung up on

1:08:41

the scale for some reason. We're

1:08:44

going to double the brightness. The

1:08:46

cube itself is bigger and that bugs me. The

1:08:50

first one was only 14 feet. It

1:08:53

seems

1:08:53

like they're hanging out in a waiting room

1:08:55

or something. It

1:08:58

looks like when you go to Hideo Kojima's

1:09:00

office, his new office

1:09:02

for his game company, he has a big white room.

1:09:05

It looks like the 2001 room or something like that. Oh,

1:09:08

that's funny. Is

1:09:10

there... what's the opposite of

1:09:13

a weeb? Because that's what Kojima is. I

1:09:15

think someone said Westaboo.

1:09:17

Westaboo.

1:09:24

What do we think? What's

1:09:26

our rating on hypercube? How

1:09:28

many hypercubes in a 10? I give

1:09:30

it one. This

1:09:32

is rotten, I would give it like two.

1:09:35

There's nothing worth watching. I'm

1:09:39

taking it down. You

1:09:41

were right, you were like, I like the idea of

1:09:43

this thing. It's like the concept but they

1:09:46

just drop the ball on. They drop the

1:09:48

cube. They drop

1:09:50

the hypercube, yeah. I don't

1:09:52

know. There was something about this that

1:09:54

even though it was so dumb

1:09:57

and annoying and I missed the whole point, I was

1:09:59

kind of...

1:09:59

kind of compelled by

1:10:02

just where they were taking it. It's just like

1:10:04

what- Where did they take it Alex? No

1:10:07

way. It's just crazy. Outside

1:10:09

of you. It's slightly longer as well

1:10:11

than that first one. Yeah. Five

1:10:14

minutes longer and it feels

1:10:16

it but I don't know. I was kind of just like no

1:10:18

way did it- okay the gravity is shifting.

1:10:20

Okay now it's a tesseract. Now

1:10:23

there's quantum teleportation it's just like

1:10:26

man, now the doppelganger. I can

1:10:29

even remember like when you're

1:10:31

recapping what that main character's like point

1:10:33

was and I can't remember a single attribute of her character

1:10:36

but- No. Is there a main

1:10:38

character? She didn't have the blonde.

1:10:41

Is that the main character? Are we

1:10:43

deciding that's the main character? I'm deciding

1:10:45

just the main character yeah. I think so yes. Yeah.

1:10:48

The cube is more of a character in this

1:10:51

film than any of the others. What's

1:10:53

the eighth and ninth character? Yeah

1:10:56

like just the Todd Howard showing

1:10:58

up and all these characters and the

1:11:00

floating sex scene like yeah

1:11:02

I don't know this is like a one and a half star to me.

1:11:05

Stupid but-

1:11:05

You're

1:11:08

all so nice. Give

1:11:10

it an extra star for

1:11:13

him stabbing that old lady. Yeah

1:11:16

the old lady does get stabbed I forgot.

1:11:19

Yeah because you shouldn't trust her for some reason.

1:11:21

He keeps on stabbing. He keeps stabbing everybody in this

1:11:23

movie. Yeah they all have like accessories.

1:11:26

He gets he collects a bunch of watches.

1:11:28

Yeah that's right. I'm hoping for him to be like

1:11:30

decked out with like the armor

1:11:33

of watches and like a plain plain plot. That's

1:11:35

right. That's right. That's right. That's

1:11:38

right. Yeah that's

1:11:41

right. And he never shows up really again

1:11:43

much. Just we just see different

1:11:45

versions of him having hung himself. So we know that

1:11:47

his character throughout every alternate

1:11:49

reality is so consistent the moment he wakes

1:11:52

up in a cube he's like well I

1:11:54

can try this David Carradine trick

1:11:56

it's always been too risky before. Yeah I mean what is it?

1:12:00

Yeah, go for it. Exactly. You

1:12:02

might as well see if it feels good. He handcuffs himself to

1:12:04

the ladder, doesn't he? Just

1:12:06

to make me get like melted. It's like

1:12:08

the odds of me being found are

1:12:11

astronomical. Astronomical. Astronomical.

1:12:14

Astronomical against. Anything

1:12:17

higher than a one feels wrong for

1:12:19

me. Yeah. I can't stomach

1:12:21

it. I can't stomach it. A two feels

1:12:23

too generous for me. Easy one

1:12:26

out of ten. Terrible, awful movie. They

1:12:28

misunderstood the assignment. It

1:12:31

sucks how forgettable

1:12:34

something is when I've

1:12:36

clearly seen it before but I didn't even know.

1:12:39

Didn't even know that I'd seen it before. If you

1:12:41

asked me whether or not I'd seen Hypercube, I would say no. It's like a memory

1:12:43

suppressor. I don't remember anything about it. I don't

1:12:45

know what Hypercube is. I've logged in the letterbox

1:12:48

so I know that I will remember never

1:12:50

to watch this movie again. Exactly. Even by accident.

1:12:53

Yeah, I'd give it an extra star

1:12:55

just for the name. Good God. The

1:12:58

confidence of putting Hypercube in there. I'm

1:13:00

not going to forget a lot about this movie but not

1:13:03

Hypercube. Do you think Elon Musk

1:13:05

is a big fan of this movie when he was coming up

1:13:07

with Hyperloop? Yeah. It's not just a

1:13:09

regular loop. It's Hyperloop. Hyperloop.

1:13:12

Hyper needs to calm down. There are two

1:13:14

more quotes that I just see in my notes that

1:13:16

I want to mention before we move on. I hate

1:13:20

how they tried or at least pretended

1:13:23

for a moment to be doing this math thing but they say, maybe

1:13:26

it's a coordinate of some kind but in four

1:13:28

dimensions it's like, okay, fuck yourself.

1:13:31

I was hoping for more complicated math but

1:13:34

there was none. They just didn't care. And

1:13:36

then the line, holy shit, variable

1:13:39

time speed rooms. One

1:13:42

of those words feels redundant. Like

1:13:44

time and speed. Variable,

1:13:46

doesn't that mean? Yeah, variable

1:13:49

speed rooms you could say or variable time

1:13:51

room. What is time speed? Bullshit.

1:13:55

And she was so stupid for not understanding

1:13:57

he was in slow mo. Like he would

1:13:59

have been... stuck there for like a year and had

1:14:01

to come to her, she was just like,

1:14:03

what is wrong with you? Awful,

1:14:07

awful. And I can't, without

1:14:09

my notes, I would not remember anything in this

1:14:11

fucking movie. Absolute garbage.

1:14:14

All right, Cube Zero

1:14:18

is a prequel film from 2004.

1:14:20

What? Oh.

1:14:23

I didn't know that. No. News

1:14:26

to me. It's a prequel, I mean it's Zero.

1:14:30

I didn't think about that. I think it is, right?

1:14:36

Now you're making myself second guess myself. No,

1:14:38

I think it is, but I didn't know that until

1:14:40

I looked it up today. Oh, that's funny. I

1:14:43

mean, yeah, it must be, right? Like the technology's

1:14:45

in those advances, the hyper. Yeah,

1:14:49

it's like more rusty.

1:14:52

They kind of, yeah, they go in

1:14:54

a different direction.

1:14:57

Very... It's

1:14:59

like a sidequel to Cube, the original maybe.

1:15:02

Yeah. Sidequel. It's another

1:15:04

Cube somewhere, who knows.

1:15:05

I'm just kind of...

1:15:07

Yes, a side... I'm thinking. What

1:15:09

do we say about this movie?

1:15:16

Directed by Ernie

1:15:17

Barbarash. Barbarash.

1:15:22

Whose name came up on the second one, and I think

1:15:24

he's the producer or writer of the

1:15:26

second one? Producer, I think. Again,

1:15:29

I don't think he had directed anything before, so

1:15:31

they keep giving these movies to people who

1:15:33

aren't directors. Also,

1:15:35

director Ernie Barbarash,

1:15:38

producer on American Psycho 2.

1:15:41

Yeah, see, there's more connect all connected.

1:15:43

What is happening? I don't know why. Movies

1:15:45

are intertwined,

1:15:47

but apparently they are.

1:15:50

Have you seen that, by the way? No,

1:15:52

I haven't. No, I haven't seen it. I should

1:15:54

watch it, the Mila Kunis? Yeah, it's

1:15:56

great to watch right after American

1:15:59

Psycho. one. It's

1:16:03

a very unique experience.

1:16:09

In some ways, this film

1:16:12

kind of tries to go back

1:16:14

to its roots, almost

1:16:16

as if to attempt to

1:16:19

correct

1:16:20

the cube two hypercube

1:16:23

disaster.

1:16:25

We

1:16:27

get the opening

1:16:29

death scene that's kind

1:16:31

of reminiscent of the first one. It

1:16:34

did have some good practical effects that

1:16:37

the guys face and skin falling off.

1:16:40

It was some fun stuff. That was pretty cool. We

1:16:42

got some colored lighting in the rooms. True.

1:16:46

Obviously, the cube looks better than

1:16:48

the last movie because it would have to. But

1:16:51

I didn't care for this movie really at all, but it was

1:16:53

better than the last one. Yeah, better than hypercube.

1:16:57

Really? I found hypercube

1:16:59

more entertaining. I'm going to be real. This

1:17:02

one was more boring. It was boring.

1:17:05

I think it's a better shot than

1:17:08

the second film.

1:17:09

Oh, yeah, big time. Yeah, technically it

1:17:12

is better. And also, I thought the acting was better.

1:17:14

But if you like to laugh at bad acting, then you

1:17:16

definitely want to watch two over this one.

1:17:19

Although, the second half of this film,

1:17:21

cube zero, I'm just kind of,

1:17:24

I'm so confused why

1:17:26

this weird character.

1:17:30

Eyeball man. Yeah. He

1:17:32

seems like he belongs in literally

1:17:34

a goosebumps

1:17:35

kids show. Yes. You're

1:17:37

not wrong. Totally. He could

1:17:40

have played him. He was like that level of like chewing the

1:17:42

scenery goofy. Yeah. Such a weird

1:17:44

choice. They like really focused on the the

1:17:46

sci-fi element with these sequels.

1:17:49

Yeah. Like his underlings

1:17:51

have these like fingers,

1:17:53

sci-fi things in the keyboard. Second time.

1:17:56

It's over for no reason. And it was like a sci-fi keyboard. Johny

1:18:01

mnemonic it's actually like Yeah,

1:18:05

and the sound effects too when they're like using their

1:18:07

fucking invisible keyboards like Every

1:18:11

time it cuts back to them It

1:18:14

really goes off the rails when this character shows up

1:18:16

and I was kind of on board I think

1:18:19

Somewhat up to that point I

1:18:23

was like, okay. Okay. It's it's

1:18:25

winning me back to the cube franchise

1:18:27

here. I

1:18:28

I

1:18:29

You got colored lights, you know for

1:18:31

different rooms that they

1:18:33

have that like Set that the two guys

1:18:36

the two guys that are kind of monitoring everything.

1:18:38

You know, they built a set

1:18:41

They got props and everything

1:18:43

I don't want props and I don't want them to leave

1:18:45

the cube I don't want to see outside the cube now to be fair.

1:18:48

They're like those guys are Kind

1:18:51

of in the cube. They're just in like a nicer room

1:18:53

and that's kind of revealed later But I

1:18:55

thought we were you know, we're getting a glimpse behind the curtain

1:18:58

Which I thought they should have either

1:19:00

committed to one way or the other like, you

1:19:02

know Throwing out concepts

1:19:05

that they can't commit to at all. Yeah,

1:19:07

that was kind of the hook for me it was like oh, so these are the guys

1:19:09

that deal with who the Contestants

1:19:12

if you want to call them that she managed to get out

1:19:14

and like what happens next or where

1:19:17

does that go? and there's that whole scene where they

1:19:19

do deal with the The ex-cow worker

1:19:21

who's in that position and it all

1:19:23

comes down to this query about if they believe

1:19:26

in God Which

1:19:29

they never expound on they never really like

1:19:31

explain like where that's going Yeah,

1:19:33

I thought they were gonna revisit that or yeah, exactly.

1:19:36

It was gonna be some yeah Twist

1:19:39

at the end or nothing came of that

1:19:40

the whole movie is just we're just doing

1:19:42

testing Just just vague testing

1:19:45

on what on everything

1:19:46

Yeah, I was thinking like at the end

1:19:48

like one of the guys would make it out and like do you believe

1:19:51

in God? Then he says yes, and then yeah,

1:19:53

anyway, anyway, yeah, but I mean that

1:19:55

would be a pretty small pay off I

1:19:58

know I mean well compared to this wisdom they went

1:20:00

with. Okay, that's okay. I

1:20:02

fucking hated that, obviously,

1:20:05

as I am such a big fan of the

1:20:07

original. I thought it was an extremely poor taste,

1:20:09

and they just wanted to connect it back to the

1:20:12

first movie in the beginning. Oh, God. He's

1:20:14

that guy. But that character wasn't

1:20:16

lobotomized.

1:20:17

So what are you doing? The character wasn't lobotomized, but

1:20:20

I don't think so. They set

1:20:22

things up in a way where they're clearly, at

1:20:24

the very least, trying

1:20:26

to remind us of that

1:20:29

dynamic and that character. Yes, they are. And

1:20:31

they shoot the exact same dialogue, and they shoot it in the exact

1:20:33

same way as the first movie. Exactly. So

1:20:36

the implication is that he was

1:20:39

also lobotomized, which is not

1:20:41

only dumb, but kind of offensive.

1:20:44

Yeah, it did. Yeah, it offended me. That

1:20:47

performance offended me, and also

1:20:49

just offended me as a fan of the first one, where I

1:20:52

thought the character was done so well, and then I just

1:20:54

just remember this character. Also,

1:20:57

his name is different. Whatever. Well,

1:21:00

yeah, his name is different. So I

1:21:02

just interpreted that as he's not literally

1:21:04

that character, but perhaps

1:21:07

over the course of time, there's enough

1:21:09

of the exact same scenarios taking

1:21:11

place. Like he's

1:21:14

not the first guy to be lobotomized, and he won't

1:21:16

be the last. That's how I interpreted it too. But

1:21:19

the person I was watching it with was

1:21:22

confused as to, oh, is that supposed to be the

1:21:24

same character? It is just not communicated

1:21:26

well, that whole twist. I was looking at his name tag. It's

1:21:31

a reference to make people who love

1:21:33

the first movie feel good, but it made

1:21:35

me angry. But

1:21:38

I was thinking, okay, they're going to do something different

1:21:40

with this movie. We're just all going to be seeing

1:21:42

it from behind the curtain, and I

1:21:45

wish they maybe should have committed to that

1:21:48

instead of just mixing the two. Let's

1:21:51

just go behind the scenes. Even though I don't really want to see

1:21:54

that, it's like at least they're doing something

1:21:56

different.

1:21:58

Yeah, they couldn't help themselves though.

1:22:00

The whole thing looked like a cheap Canadian TV

1:22:02

show as well. Yeah, very. It

1:22:05

felt like the outer limits. It felt

1:22:07

like the outer limits. Yeah, Goosebumps

1:22:09

are like Star Trek spin-offs.

1:22:13

So it's as if they, what's so

1:22:15

weird about this, so

1:22:17

when I was watching these films when I was younger, I

1:22:19

was like 13 or something, I

1:22:21

was doing

1:22:22

so in such an uncritical way

1:22:25

because that's

1:22:27

just how I watched movies and I was just like, I would just

1:22:29

watch any horror movie and it didn't matter and

1:22:31

I didn't think about anything in terms

1:22:34

of directing or production or just

1:22:36

people involved artistically with the film

1:22:38

and different voices and all that shit. And

1:22:41

so when I was watching this, I remember a

1:22:43

part of me being kind of excited that

1:22:45

they were explaining more

1:22:48

about what's outside because I just thought of it

1:22:50

in terms of, oh yeah, there's more

1:22:52

to this universe. I want to see them, I want to peel

1:22:54

back the curtains as

1:22:57

if the universe in of itself is some sort

1:22:59

of objectively existing

1:23:01

thing and not just whatever the writers decide

1:23:03

it is. Watching

1:23:06

this right now, it's sad

1:23:08

that it's as if they want

1:23:10

to explore more about what's outside

1:23:13

but they don't have the budget. But

1:23:15

the whole reason why the cube was

1:23:17

inside in the first movie

1:23:20

is because it's not only like

1:23:23

practical for the sake of the script and the emotions,

1:23:25

but it's also practical for the budget,

1:23:28

which you don't want to be overly ambitious

1:23:30

and show something you can't in

1:23:32

a film like this, especially if you don't have the talent

1:23:36

in terms of how to show it in a way

1:23:38

that doesn't feel super fucking cheap. It

1:23:41

kind of ruins it to know, oh, outside

1:23:43

the cube

1:23:44

is just a random forest and snipers.

1:23:47

Was that little girl just running around out there

1:23:49

the whole time? I

1:23:53

don't know if that was real or not. It might

1:23:55

have been a dream. Okay.

1:23:59

It was in his fan fiction that

1:24:02

he was drawing the whole movie.

1:24:03

Chess man and brain man. I

1:24:05

think. Oh,

1:24:08

he should be hired by Marvel. True.

1:24:12

Yeah, I think the people that want to see more

1:24:15

of the world behind the same

1:24:17

people that go to like Prometheus and they're like, yeah,

1:24:20

explain the space jockey

1:24:23

from Alien. It's like, no, no, you

1:24:25

fool. No. I

1:24:28

want to know. I want to know

1:24:30

how the universe started. Yes.

1:24:34

I want an explanation for everything.

1:24:37

You see, he was always going to Ridley Scott.

1:24:40

He always meant to. Oh, yeah. This

1:24:42

was the plan all along, Adam. He wasn't just making it up.

1:24:45

He didn't have a technology yet. That's right. Yeah.

1:24:48

Oh. Same composer as

1:24:51

American Psycho 2.

1:24:53

Oh, my God. I will say like this,

1:24:55

this is the score for this

1:24:57

one and the last one was definitely trying to sound

1:24:59

like the first score. Yeah. Failing.

1:25:03

I thought some of the sounds they're whipping out were pretty

1:25:05

bizarre. They were going for like bongos and

1:25:07

accordions. Yeah, right. Did

1:25:09

you read Dew in there? Yes. It's

1:25:12

accordion music. It was like, what's

1:25:14

this? Yeah, I felt like I was eating at like

1:25:16

the Parisian cafe or something. Yeah,

1:25:18

yeah, yeah. Was it Alexander Despla?

1:25:21

Did he do Shape of Water? I

1:25:24

think so. Yeah. It was like

1:25:26

watching Ratatouille or something. The accordions

1:25:28

kind of reminded me of like 12 Monkeys. I think

1:25:31

maybe it was the same thing when we watched it.

1:25:33

Yeah. April said the same. Yeah.

1:25:36

Yeah. So there's a part in the movie. So

1:25:38

do we, I barely remember any of the characters. There's

1:25:40

the main guy.

1:25:42

There's a girl he has a crush on and

1:25:46

then everybody else like, oh

1:25:48

yeah, there's a guy who

1:25:49

gets crazy cat eyes at the end.

1:25:52

Yeah. He's like a super soldier.

1:25:55

Yeah, he like jumps really high. Yeah,

1:25:57

he like Super Mario jumps.

1:25:59

Yeah, he's got like a

1:26:02

brain chip and a like a insignia

1:26:05

carved into his head. Head,

1:26:07

forehead, that's right. And I

1:26:10

think the snipers in her dream, so

1:26:12

these two guys who are kind of observing the people

1:26:14

inside the cube record her dream. Oh, I forgot

1:26:16

there was dream recording. Yeah,

1:26:20

of course. Dream recording. So she's

1:26:24

running from with her daughter and then

1:26:26

the snipers shoot her and then bring her

1:26:28

back into the cube. And I think the snipers have

1:26:30

the same kind of tattoo on their forehead. And

1:26:34

it bugged me so much because his tattoo is like

1:26:36

crooked a little bit. It's not. It's

1:26:38

a magical. It's not, yeah, it really bugged

1:26:40

me. There's the overweight gentleman.

1:26:43

But

1:26:43

when she meets the soldier for

1:26:45

the first time, she's like, I hate

1:26:47

you. You people are scum. And then she spits

1:26:50

in his face and the edit is so funny. It's

1:26:53

like you don't even see the spit leaving her mouth

1:26:55

and they cut the spit already

1:26:58

on his face. So just add like a flat sound

1:27:00

effect. And it's funny. It's so

1:27:02

cheesy. Great editing.

1:27:04

So, okay,

1:27:06

so they make an attempt to

1:27:09

explain first what's

1:27:11

beyond the cube.

1:27:14

So in a way where you see who's the

1:27:17

people who are in the control room recording dreams

1:27:19

for some reason who are not prisoners but might

1:27:21

be later. And we get

1:27:23

the explanation of the

1:27:25

I don't know why, but they get fed

1:27:27

like I guess really high calorie pill

1:27:29

meals that may or may not taste like entire

1:27:33

fancy dinners. There's

1:27:35

a red and a blue pill, I think. True. One is a

1:27:37

reference. Well,

1:27:40

that's the whole dream of the future. It's like

1:27:43

in the future, we'll take a pill and go make you eat the

1:27:45

bug. The

1:27:47

cricket cubes from Snowpiercer.

1:27:53

Yeah. And so when introducing

1:27:55

their lives, they get fed up.

1:27:59

They kind of they're trying to explain more

1:28:02

but I'm still left with more questions because we

1:28:04

don't know how they got there We don't know like they

1:28:07

don't know why they're there and they apparently signed some consent

1:28:09

form, but did they? And

1:28:12

also, I don't know how long

1:28:14

they've been there I don't know how long the film takes

1:28:16

place over and it's weird

1:28:18

how their entire

1:28:21

life as we see it It's

1:28:25

just playing chess and

1:28:27

sitting and recording dreams and like maybe

1:28:30

drawing a comic picture

1:28:32

Do they have beds? Do

1:28:35

they sleep any like do they have a room

1:28:37

there that they sleep in? Yeah, I

1:28:39

feel just so hyped up

1:28:42

that they never have to sleep. Is it

1:28:44

are they a pill for that as well? Yeah,

1:28:46

yeah, it reminded me of like two characters from like

1:28:49

lost or something like that Like this would

1:28:51

this would be one of the lost like

1:28:53

when they call them the stations where it's just

1:28:55

two guys like yeah But

1:28:58

the structure is so truncated,

1:29:01

you know Because there's all this time wasted on setting

1:29:03

these guys up in this room. There's never really Expounded

1:29:06

on it. But at the same time they do keep cutting inside

1:29:09

the cube where it's basically just a

1:29:11

retelling of the first movie But yeah

1:29:14

worse in every way or boring or boring They

1:29:17

just go ahead and like have these characters

1:29:20

all have already met and they're just like hey,

1:29:22

we're a team again We're going you know, like we don't

1:29:24

get we don't get to know any of them or get to see

1:29:26

them discover each other Or yeah,

1:29:29

cuz they're kind of splitting the time up between the

1:29:31

people in the cube and the people outside of the cube But

1:29:34

then it's sort of revealed that there's other people

1:29:36

kind of higher up than the people

1:29:38

outside But we never really see who

1:29:40

they're talking to on the phone or whatever. It's

1:29:43

just guy with a cane Oh, yeah. Oh

1:29:45

my god. That's the that's the only

1:29:47

higher He

1:29:50

he I guess owns the entire business

1:29:53

but also his hands are in it so much and

1:29:55

he oversees Everything

1:29:57

and like shows up for the lobotomy

1:29:59

me just to say something and just

1:30:03

the one guy who just really likes being

1:30:06

in control of everything and he's

1:30:08

just, so weird. His

1:30:10

reveal is so,

1:30:12

so bad. When the elevator doors, the

1:30:14

elevator doors open and there's like a glint

1:30:16

on his eye. It's insane. It's

1:30:19

just like, what are we doing now? I feel

1:30:21

like the genre changed as soon as he showed

1:30:23

up. Yeah, yeah. He's completely

1:30:25

down in the schlock in that moment, yeah. Yeah,

1:30:28

they might as well have goofy, silly music

1:30:30

playing. His full fucking entourage

1:30:33

is goofy as fuck with their silly Johnny

1:30:35

Mnemonic gloves and their typing noises. I

1:30:39

just, I don't know what the hell

1:30:41

they were going for. I don't know why they

1:30:43

would want that

1:30:45

in this film or this universe because it's

1:30:47

supposed to be a horror movie. It's

1:30:50

rated R.

1:30:51

This isn't a kid's

1:30:53

show. What the fuck? Is he supposed

1:30:55

to be scary or funny? I don't know. It's

1:31:01

impossible to tell. Yeah,

1:31:03

yeah. It's very,

1:31:05

it's very broad. The performance

1:31:07

is very broad. Extremely. He has a line

1:31:09

where he's like, I don't trust technology or something like

1:31:11

this. When he's got, he's got like a crystal robot

1:31:14

eye. I was like, I don't know

1:31:16

what you mean. Which

1:31:18

annoyed me again because it was not level

1:31:21

with his other eye. It was

1:31:23

a mad prosthetic. It looked terrible.

1:31:29

Lucky the director of the second movie didn't do this. It

1:31:31

would just be blasted with light and you'd see how shitty

1:31:33

it looks.

1:31:34

Oh God. Yeah, you're right. He's

1:31:36

somewhat

1:31:37

of a cool name. Yeah. Yeah. The

1:31:40

character

1:31:40

died. He decides, even though he's

1:31:42

trying not to stir the pot the entire film,

1:31:45

he's like, I'm going to get in trouble if I talk

1:31:47

to you. Shut up. Things

1:31:49

are fine. By the end

1:31:51

of the movie when the other, when the whole goofy

1:31:53

entourage shows up and his friends

1:31:56

in trouble, he tries to help

1:31:58

him by.

1:31:59

yanking out electrical cables.

1:32:02

That very

1:32:05

nonchalantly too, he like, there's literally

1:32:08

just the film plays it so

1:32:10

seriously and as if it wasn't

1:32:13

as if he's not one of the strongest people on the fucking planet.

1:32:17

Just yanking these things out that are live

1:32:20

electrical cables just moving it like as

1:32:22

if it's nothing and it's so weird that

1:32:25

you know, if you you almost don't

1:32:27

realize how crazy it is what they're showing.

1:32:30

Yeah, and they have like the most pitiful like kind

1:32:32

of CG sparks that they've kind of comped over

1:32:34

them. Yeah, I hated that whole set.

1:32:37

Their

1:32:40

room with all the wires and the monitors.

1:32:43

I just didn't like looking at it. Very

1:32:45

uninspired. Yeah,

1:32:47

yeah, but yeah, I agree. At

1:32:50

least the cube has, you know, the cube

1:32:53

a little more like the regular cube. The

1:32:55

one good thing about this movie is Sailor

1:32:58

Moon was in it. Oh, yeah.

1:33:00

Girl, woman who did the voice for the

1:33:04

English dub Sailor Moon

1:33:07

because of course,

1:33:08

it was dubbed by

1:33:10

I think it was Deke in Canada for all

1:33:12

Canadian cast because it was cheaper

1:33:14

and she's in the movie and I was like,

1:33:16

wow, she has a really like

1:33:17

high pitched voice. And I looked her up. I

1:33:20

was like, oh my god. Yeah, you can always tell when

1:33:22

people are voice actors. What

1:33:24

a unique voice. You look them up. Of course. That's

1:33:27

funny. The inside of the cube might have looked

1:33:30

way better than the first. Sorry, the second movie.

1:33:32

A bit more close to the first movie. It's like,

1:33:35

OK, we're trying to bring things back. The

1:33:38

CG exterior cube shot. So

1:33:40

when it's showing it moving through, like

1:33:42

when it's doing the elevator thing,

1:33:45

right? It's too bright and you can see

1:33:47

everything. And that's probably why it looks so shit.

1:33:49

The original film, you

1:33:51

know, there was a point in time in the late 90s

1:33:53

where good movies recognized, hey, if

1:33:56

you just have things really dark, the CG looks better.

1:33:59

Yeah, it's crazy that it looks worse

1:34:02

than

1:34:02

the original. Yeah.

1:34:04

It looks much worse. There was a point in

1:34:06

the end of the 90s, beginning

1:34:09

of 2000s where it's just like, we can do

1:34:11

fucking anything in CG.

1:34:12

Show it all. And we were not there. Not

1:34:14

understanding the mission. And

1:34:17

even today, it's like

1:34:19

trying to make the whole movie in CG and

1:34:21

then just wanting to do it cheaply. And

1:34:24

like, oh, we don't want to pay the animators

1:34:26

that much. Let's just make the whole

1:34:28

movie look weirdly dark. Let's

1:34:30

just make the whole movie dark. Okay.

1:34:33

Fuck off. Oh

1:34:34

my God. I have a weird note here that I'm curious

1:34:37

if any of you noticed. So

1:34:40

on the Blu-ray and on the Amazon

1:34:42

version, I checked with people in my chat,

1:34:44

there's a black line in the top

1:34:47

left corner, at the very top left corner

1:34:49

of the frame that just stays there the

1:34:51

entire movie that doesn't go all

1:34:53

the way across the screen. You

1:34:55

might not see it because if you're watching it in full screen,

1:34:58

there might be like a part of your monitor or television

1:35:00

that's covering it. But I was watching

1:35:02

it in a window on my monitor, like

1:35:04

in windowed mode. And

1:35:07

you can see it. I didn't notice. And it's

1:35:09

there and it's like

1:35:10

actually just in the

1:35:12

official release. No,

1:35:15

we didn't notice it. We watched this on 2B. No

1:35:17

one did like any quality control on this.

1:35:19

Apparently. Yes. And

1:35:22

what's crazy about it is this has a fucking

1:35:24

Blu-ray. It's from 2004, right? And

1:35:28

it's so sad, the commentary

1:35:30

on how films get successful

1:35:33

or how films have longevity

1:35:35

in terms of passive

1:35:38

income and sales. The only

1:35:40

reason this has this is because it says

1:35:42

cube in the title. You could release

1:35:44

the exact same fucking movie, not

1:35:47

put cube in the title, wouldn't get

1:35:49

a fucking DVD, wouldn't get a Blu-ray,

1:35:51

right? Maybe would be buying

1:35:54

it on iTunes or whatever over the course of time. It's

1:35:56

making all of this residual income just for the

1:35:58

name alone because it's a- It feels

1:36:00

like it's a part of a franchise and

1:36:02

everybody that watches it just forgets how bad it is

1:36:04

and was to revisit it every Fucking 10 years Forget

1:36:08

they watched it. Yeah, I believe what

1:36:10

this wasn't released theatrically.

1:36:13

It was just directed video video Yeah,

1:36:15

maybe that's why but you know, yeah

1:36:18

I don't think blu-rays were out in 2004. Were they seems

1:36:21

a tad early?

1:36:22

Yeah Yeah,

1:36:26

so eventually Someone

1:36:28

decided hey, there's enough interest

1:36:31

that we can release an HD version

1:36:34

of this

1:36:34

Oh my god, it's just sad to think about

1:36:37

Based on the quality of the film. Well, I

1:36:40

don't know the weirdest thing what quality we were a

1:36:42

release these days It's true.

1:36:45

I did get a good laugh speaking of the kills. They've

1:36:47

got a few good ones in this movie. I forget I

1:36:50

forget the guy's name. He's like the fact I hate big.

1:36:52

It's like the fat guy character He

1:36:54

is a horrible death He's like the nicest

1:36:57

guy in the movie and usually you kind of save

1:36:59

those deaths for like, you know, the real villain

1:37:07

It's like saw you're yeah, you're fat

1:37:10

you are a smoker So

1:37:15

he it's like I think one of the women's

1:37:18

Walks into a cube and steps on like this

1:37:21

hypodermic needle that comes up from the ground and

1:37:23

I Sorry

1:37:29

I think that was Sailor Moon. Oh Yeah,

1:37:32

okay so it's in this like it's revealed to be

1:37:34

like a flesh eating disease or something and

1:37:37

so they all come into the room and she's There

1:37:40

and then the fat guy's like now and he starts wrestling with

1:37:42

her and then she scratches him and he's like,

1:37:44

oh It's nothing. It's just a scratch and then I

1:37:46

love every time they cut back to him Within

1:37:49

seconds

1:37:50

is like faces like deteriorating more and more

1:37:52

I don't remember any of this. I wasn't a days

1:37:54

ago And then they're like well

1:37:56

you're dying. So you're gonna help us like, you

1:37:58

know, figure out which rooms are Yeah, so

1:38:01

they send him into the next room and I think he like

1:38:03

one of the guys pushes him You

1:38:05

know, so he's already got this flesh eating disease.

1:38:08

He's going to die so they shove him into this room

1:38:10

and he falls and then he's big like Sonic

1:38:13

like I don't know. Oh, yeah. He got sound

1:38:15

blasted or

1:38:16

something. Yeah Blow

1:38:19

his head up with like

1:38:21

Sonic waves is that the guy

1:38:23

that gets blown up and he disappears and there's just nothing

1:38:25

left There's just like two pieces of

1:38:27

dust probably. Yeah, but yeah, he

1:38:29

explodes like a bloody mess. I'm like, oh

1:38:31

my god What other traps

1:38:33

are in the movie? Like I remember that one

1:38:36

and the opening one but in between

1:38:38

that Yeah,

1:38:41

I can't can't recall any And

1:38:44

we watched this yesterday wait wait There

1:38:47

was another version of the

1:38:50

kind of wire from the first movie

1:38:53

They kind of oh, yeah a guy like gets like strung

1:38:55

up Yeah, it's like an old guy and I think he steps

1:38:57

into the room and all these wires wrap around him and then

1:38:59

they start kind of Getting

1:39:01

pulled back into the

1:39:03

yeah, although it kind of looks more like rope and less

1:39:05

like a metal wire But he gets yeah,

1:39:07

take it apart. He gets sliced and it's like a way

1:39:09

worse version of what happened in the first movie Yeah, exactly.

1:39:13

Exactly. Yeah, then it's

1:39:15

revealed that that they're all Criminals

1:39:18

and that they signed a waiver Did

1:39:22

Yeah, who knows so it's like you

1:39:24

can either You know be executed

1:39:26

or get a shot at surviving. We're gonna stick

1:39:29

even this cube And

1:39:31

then that's fine waivers. Yeah Why

1:39:34

did they wipe their memories that did

1:39:36

they wipe their memories? I think so because

1:39:38

they can't remember. Yeah, why would

1:39:40

they do that? I Don't know.

1:39:42

Yeah Ask

1:39:45

the guy with the silver eye

1:39:50

And came out the same year as the first saw

1:39:52

so yeah Really

1:39:55

yeah, they missed the forest with the trees for the potential

1:39:58

of just just have a string of rooms

1:40:00

with like fun traps in and they figure

1:40:03

out how to get it's not complicated. It's

1:40:05

really not. They hung up on

1:40:07

just such strange concepts. Yeah,

1:40:10

let's go sci-fi with the gravity changing or a

1:40:12

hypercube or let's go outside

1:40:14

of a few layers above the cube and see

1:40:16

what else. No, you are missing the

1:40:18

forest with the trees there. Like it's so simple. Yeah.

1:40:21

Misunderstood the assignment. Yeah, it's

1:40:23

like they read like the IMDB reviews for everyone

1:40:26

who

1:40:26

was like, oh, you never found out like

1:40:28

what happened at the end.

1:40:29

Yeah, they're ready to get in. Yeah,

1:40:32

listen to the 13 year olds is the moral.

1:40:34

Yeah, the soft franchise knew what it had. You

1:40:37

know, they didn't get into like hyper saw or

1:40:39

whatever. There is still time. There

1:40:42

is still time. Bring

1:40:45

back Tobin Bell again and again and again. Keep

1:40:48

it going. Keep it going. We're

1:40:51

on a roll. Yeah. I heard the new

1:40:52

one's kind of good. Alex and I talked about it. It

1:40:55

is a return to form.

1:40:57

Right. Don't say

1:40:58

that much. It's a return to the old. You

1:41:00

know what pissed me off in this movie? They said Z instead

1:41:03

of Zed.

1:41:03

Those have they forgot

1:41:05

their Canadian roots and all

1:41:08

the actors are Canadian. I know. So

1:41:10

why are they pretending it's an American movie now?

1:41:11

Yeah, no, don't like that

1:41:13

bullshit. Yeah. Do we

1:41:15

have anything left to say about the guy that

1:41:17

with the snake eyes and the he

1:41:19

just stands in the room and the room is about

1:41:22

to like

1:41:23

everything resets and vaporizes

1:41:25

for some reason after a certain amount of time. Yeah.

1:41:29

They reboot the cube. Yeah, they reboot the

1:41:31

cube. I think the guy with the silver eye does.

1:41:34

And then I think that just incinerates everybody

1:41:36

in all the cubes. But they have a

1:41:38

certain amount of time where they can get to the exit. I

1:41:40

think the guy who

1:41:42

worked behind the scenes kind of enters the

1:41:44

cube. He's like kind of a creepy perv,

1:41:46

isn't he?

1:41:48

Yeah. You just like fall through this girl. Yeah,

1:41:51

he is a creepy perv. Maybe not as much as

1:41:53

like Quentin in the first movie. No. It's

1:41:56

an ongoing theme.

1:41:58

Yeah. And then we'll go back to the

1:41:59

movie.

1:41:59

And we go outside and we get GoldenEye 64

1:42:02

Sand Effects from the Snakers.

1:42:05

And that was honestly when the movie was starting

1:42:08

to get good for me. It was like the last five minutes. I

1:42:10

was like, please, more of this. It

1:42:12

was so funny. I was having a time in my

1:42:14

life. Their POV is really funny too

1:42:17