Episode Transcript
[00:00:00] Speaker A: Welcome to the podcast, guys. You got Ian here, you got Kezzy here. And this is a special podcast because this is the first official podcast with the new official name.
[00:00:14] Speaker B: Yes.
[00:00:14] Speaker A: You want to go ahead and debut? I'll let you go ahead and debut it.
[00:00:16] Speaker B: Can I get a drum roll?
[00:00:17] Speaker A: Okay, hold on.
[00:00:21] Speaker B: Okay.
That scared the shit out of me. I'm sorry. It's Real Heads.
Don't drop your laptop.
[00:00:30] Speaker A: I got it. We' we're chilling. Hey, welcome to the Real Heads podcast, guys, where your boy Ian and your boy Marquez are going to put our real heads together. Right. You know, but also our real heads. Got it. Got it. Like movie real.
[00:00:48] Speaker B: Yeah, Movie.
[00:00:48] Speaker A: Real heads together.
But also we got triple entendre in there. But also we're going to reel.
[00:00:56] Speaker B: Yeah, reel in the heads.
[00:00:57] Speaker A: The head.
[00:00:59] Speaker B: Yeah.
[00:00:59] Speaker A: Spin bars.
[00:01:01] Speaker B: Yep.
[00:01:02] Speaker A: Bars out of this world in the stratosphere. Welcome to the Real Heads podcast, guys, where we're gonna sit here, we're gonna talk to you about a movie that we watched, right? Yeah, that we watched.
[00:01:11] Speaker B: We watched it a couple weeks ago.
[00:01:12] Speaker A: We watched it. No. Yeah, we watched it like last week.
[00:01:17] Speaker B: Did we?
[00:01:18] Speaker A: Yeah.
[00:01:19] Speaker B: Oh, you're right. We did.
[00:01:20] Speaker A: It was a week ago.
[00:01:21] Speaker B: Yeah. Oh, wow.
[00:01:22] Speaker A: It's okay, man.
[00:01:23] Speaker B: Time.
[00:01:24] Speaker A: Time does fly time. And it didn't fly when we watched this movie.
[00:01:28] Speaker B: No, it didn't.
[00:01:29] Speaker A: So I want. I wanna. I wanna. I wanna. I want to jump in this movie, right? I want to talk about this. There's a lot what we watch.
[00:01:37] Speaker B: Talk about what we. What we watch, what we talk about.
[00:01:40] Speaker A: We're talking about Borderlands.
I don't know what that sound is.
[00:01:47] Speaker B: I don't. I've never played the games.
[00:01:48] Speaker A: Maybe that's. No, actually, no. There's a little. There's a little guitar riffy guy in the game.
Yeah, it's like that sort of. We're talking about Borderlands, right? So the movie. Live action video game movie. And we know how those go. We know how those go.
[00:02:06] Speaker B: Mm.
[00:02:07] Speaker A: Some are good. Some are okay. A lot of them are pretty bad, but some are fun bad. And I think that's kind of like a lot of the. The conversation we have nowadays. Whenever you get a video game adaptation of a movie, people are always saying, like, well, like, is it bad or is it fun bad? And I'm glad that people are getting to that point now being like, understanding that some movies don't have to be Citizen Kane. I thought we say this all the time in the podcast. No.
[00:02:32] Speaker B: I used to love watching super bad movies with my friends.
[00:02:36] Speaker A: Yes.
[00:02:36] Speaker B: It was so fun.
[00:02:37] Speaker A: I have a such a deep love for old, early 2000s movies that aren't, like, very good, but like. Or maybe like.
Because that's the thing. It's like, I am trying to move away from saying something like a movie is bad or good unless it's, like, definitively bad, you know, because, like, some movies are, like, very badly made or, like, have, you know, just like. It's just not. There's nothing about it that's redeemable. You know, there's some movies that are like that, but then there's also some movies that you may just not enjoy, you know, And I think that a lot of times people don't like to differentiate those two things, and they want to just say something's bad because they're not enjoying it as much as somebody else. So I'm trying to, like, train myself to move away from that because some movies are just. You just might not enjoy it, you know? I don't enjoy Mamma Mia.
[00:03:25] Speaker B: Really?
[00:03:25] Speaker A: I don't think that it's bad, you know, but. But someone might say that. Someone might go, oh, that movie's trash. You know, maybe just like, musicals. Yeah, exactly. You thought it was fine, but you didn't love it. It's like, no, it's not your favorite movie.
[00:03:36] Speaker B: No, not at all.
[00:03:37] Speaker A: But some people don't know how to differentiate that. Yeah, they want to just jump in and just be like, this is trash. You're trash. Your mom's trash. Everything's trash. Why do you. Why you watch this? Your opinions are trash. A lot of people on the Internet. Maybe it's just an Internet thing.
[00:03:50] Speaker B: It probably is. I mean, I think it's just more broad, like, broadcasting now that the Internet's a thing. But, yeah, it probably used to always be that way.
[00:04:00] Speaker A: I don't know, man. I agree. I definitely agree. The Internet's kind of going crazy, but I don't know, do you want to. You want to jump in and you want me to go through cast first or how do you want to go?
[00:04:13] Speaker B: Well, let's. Yeah, let's go through the cast. You know, I think in my notes, I had stuff about the cast first.
[00:04:19] Speaker A: This is an interesting, interesting.
[00:04:24] Speaker B: It's a big, beefy cast.
[00:04:26] Speaker A: Yeah, it is definitely a big, beefy cast.
[00:04:30] Speaker B: What did you and I beefy in.
[00:04:31] Speaker A: Terms of, like, there's a lot of them, but more so just beefy in.
[00:04:34] Speaker B: Terms of the name. Yeah. Juggernaut names.
[00:04:37] Speaker A: They got some. They got some heavy hitters in this film.
[00:04:40] Speaker B: Do you want to announce who they are first. Do you want to tell me why you think that they were chosen?
[00:04:45] Speaker A: Well, we'll say who they are first because that will give us some. Some more context. So you got Cate Blanchett as Lilith. Keep in mind, Cate Blanchett is hot off her heels. Is that how you say that saying hot off your heels?
[00:04:58] Speaker B: I think so.
[00:04:58] Speaker A: I think so, yeah.
[00:05:00] Speaker B: Yeah, maybe if you tell us. Tell us.
[00:05:02] Speaker A: Let's go with that.
[00:05:03] Speaker B: Wrong.
[00:05:03] Speaker A: She's hot off her heels.
Coming off of the. Her Now I'm forgetting the name of.
[00:05:09] Speaker B: The movie she's in. Tar.
[00:05:10] Speaker A: Tar. Yeah, Like Oscar nomination, Oscar winner. Right? Did she win an Oscar for that?
[00:05:18] Speaker B: What year was that again? Was that last year?
[00:05:20] Speaker A: Yeah.
[00:05:22] Speaker B: Who? Oh, gosh, I don't know. It was. I think Poor Things won.
[00:05:27] Speaker A: I think you're right. I think you're right. But she was nominated and that's crazy. That's. The switch up was crazy. Okay, but we're gonna get to that. Kevin Hart as Roland. Right?
Also crazy.
[00:05:42] Speaker B: Yeah.
[00:05:43] Speaker A: I'm trying to think of what was the last big movie he did.
[00:05:46] Speaker B: It's Something with the Rock, I feel.
[00:05:48] Speaker A: Probably something with the Rock. Probably something Netflixy. I'm. It's giving Netflix. I'm feeling Netflix.
[00:05:54] Speaker B: Well, he definitely was in a recent Netflix.
[00:05:56] Speaker A: He was in a recent Netflix. Lift. Yeah, the lift. But was he, like, in a wheelchair or something?
[00:06:00] Speaker B: I don't know.
[00:06:01] Speaker A: He was helping Brian Cranston in a wheelchair. Yeah, that's what it was.
[00:06:04] Speaker B: No, that's okay. Yeah.
[00:06:05] Speaker A: Yes.
[00:06:06] Speaker B: That's not what it is, but I think you're trying to make a joke.
[00:06:10] Speaker A: No.
[00:06:11] Speaker B: Oh, no, that's not what that. No, not at all.
[00:06:14] Speaker A: Oh, okay.
[00:06:14] Speaker B: I thought you were trying to make a joke, which I was like, oh, okay. Well, I didn't expect you to say.
No, it's something.
[00:06:21] Speaker A: Is that the plot of the film?
[00:06:22] Speaker B: No, it's. He's like. He, like, is working to get a heist done or something like that. Like, he's, like, lifting up people who are stealing money or something.
[00:06:31] Speaker A: I think we're talking about two different.
[00:06:33] Speaker B: You. You definitely were talking about something completely different. That movie came out a long time ago.
[00:06:38] Speaker A: Yeah, you might be right, man. That shows you how many Kevin Hart movies I've watched recently. Okay. Jamie Lee Curtis as also Patricia Tanis. Sorry, also what?
[00:06:48] Speaker B: Also recent Oscar winner.
[00:06:50] Speaker A: Yeah. Oh, my God. Everything Everywhere, Halloween is.
[00:06:55] Speaker B: But those were not that great.
[00:06:56] Speaker A: But hey, hey, man.
[00:06:58] Speaker B: Everything is great.
[00:06:58] Speaker A: Hey, everything is great. You just didn't enjoy it.
[00:07:01] Speaker B: No, I love Everything Everywhere all at once.
[00:07:03] Speaker A: Oh, no, sorry. I thought you were. I thought you were saying that. That you didn't like the movie, that you. Because you said the movie was bad, and I was saying, no, it's great, and then you're saying, everything is great. So I thought you were trying to say, like, every movie is great.
[00:07:21] Speaker B: Oh.
[00:07:21] Speaker A: Because I'm calling back to how we shouldn't say that movies are bad.
[00:07:25] Speaker B: Yeah, no, no. Everything everywhere is great.
[00:07:28] Speaker A: Yeah.
[00:07:29] Speaker B: Halloween, the most recent trilogy, is pretty bad.
[00:07:32] Speaker A: That's crazy. See, I'm not saying that. I'm not saying that.
[00:07:36] Speaker B: I mean, there were some fun bad moments in it, but they weren't my favorite.
[00:07:41] Speaker A: I'm not saying that. All right. Jack Black as Claptrap, the voice of Claptrap. Claptrap is.
[00:07:48] Speaker B: He's a little robot guy.
[00:07:50] Speaker A: Yeah. So it's not actually him.
[00:07:52] Speaker B: Just won a Nickelodeon award, I believe. The blimp.
[00:07:55] Speaker A: What does that mean?
[00:07:56] Speaker B: He won the Kids Choice Award?
[00:07:57] Speaker A: No, I'm like, what does that mean, though?
[00:07:59] Speaker B: I mean, the. The kids really enjoyed him. His performance as Bowser or something.
[00:08:05] Speaker A: Oh, okay. Good job.
[00:08:08] Speaker B: I mean, you know, like, you got a little blimp.
[00:08:11] Speaker A: That's great.
[00:08:11] Speaker B: You never wanted a Nickelodeon blimp when you were younger? Like, if you were.
[00:08:15] Speaker A: No, I think I was really weird, and I really, for some reason, wanted to get slimed. But everybody now. And, like, I think even they talked about it in, like, the Netflix doc or. Not the Netflix doc. The Max. Yeah, the HBO Max doc, said that they just didn't enjoy getting slimed. And that just kind of threw the wind out of my sails there.
[00:08:34] Speaker B: I'm sorry.
[00:08:35] Speaker A: Yeah, that's okay. All right, we got Ariana Greenblatt as tiny Tina.
This is one thing I will add on here about Ariana, which I find really funny. A lot of people online when they're trying to, like, big up the cast and be like. Yeah, and they were in this. They say Ariana. And then they go, yeah, and she was Gamora. Gamora. Young Gamora. And Avengers Endgame. And I'm like, yeah, can you shut up? You know, like, not. Not trying to take anything away from her as an actress. Not at all. But, like, hello. She was in Barbie as, like, a main character, basically. Like, the role she had in Endgame was so small, like, it could have gone uncredited. Like, it was so small. Like, she was in a. She. She's done more. Yeah, because what I'm getting at. She's done more.
[00:09:24] Speaker B: Did they cut her one thing or did they.
[00:09:27] Speaker A: No, you're thinking of the actress from 13 Reasons why who played older version of Tony Stark's daughter. Oh, yeah, that got cut. Yeah, she was never technically in the film, but she filmed the scene, so there was that. Okay, so we got Ariana Greenblatt as Tiny tm.
And we've got Edgar Ramirez as Atlas.
[00:09:48] Speaker B: Who's the bad guy later?
[00:09:50] Speaker A: Yeah, I don't know who. I don't know what he's been in.
[00:09:53] Speaker B: I don't know either.
[00:09:54] Speaker A: I don't know. Yeah, and then we've got Florian, Monty and New.
I feel like I got that.
[00:10:01] Speaker B: I think you did. I think I did in my head.
[00:10:03] Speaker A: That's how I. I'm not gonna say it again.
[00:10:05] Speaker B: No, that's fine.
[00:10:06] Speaker A: Yeah, but we got him as Creed.
[00:10:07] Speaker B: We call him Big M or just Creed.
[00:10:09] Speaker A: Big M. Fm. I'm calling him fm. Yeah, I like that.
[00:10:12] Speaker B: That's good.
[00:10:12] Speaker A: We're sticking with it. So those are the key cast members. You got 1234.
I don't think Ariana would be top billing. Like, I can't say top billing, but that's in regards to the actual film. But you have 1234 A list actors. Right. Ariana's not an A lister at this point. I would say maybe. Maybe B.
[00:10:34] Speaker B: She's.
Yeah, she's known.
[00:10:37] Speaker A: You can't be in an Oscar winning film as a lead and not be considered a B. Yeah, you know, she's got to get a couple more under her belt and I think she'll easily, easily get to A. But B, right now, before A listers, they are not cheap and Oscar winner, like, they can ask for more. They can always ask for more. And I think it's very clear that a lot of this film's budget went to that. Yeah, a lot. I had to. Yeah, it just had to. So I want, I want to go through. I mean, I made a nice little, little timeline here to kind of go through the production of this fantastic film we call Borderlands the live action movie. And before, before we do that, we do still want to acknowledge that, you know, the movie was directed by Eli Roth of Hostile fame.
[00:11:29] Speaker B: Yeah.
[00:11:30] Speaker A: Bastards.
Acting role, Glorious Basterds.
And also screenwriter Craig Mazin. Question mark.
[00:11:41] Speaker B: Yeah, I don't know.
[00:11:42] Speaker A: Yeah, we'll get into that. We'll get into that. Okay. But yeah, Craig Madison, for the uninitiated, is also the writer behind Chernobyl as well as the Last of Us, so.
[00:11:54] Speaker B: I didn't know that. Yeah, that's crazy.
[00:11:56] Speaker A: Big. Big films are big shows. Yeah, yeah, yeah. All right, so here, here's a Little timeline for you. Let's take it all the way back to 2015.
[00:12:10] Speaker B: All right.
[00:12:10] Speaker A: Lionsgate announces that they are developing a Borderlands movie with Avi and Ari Arad producing.
Oren Uzell was one of the first writers involved. And this was the writer for Escape Room, Tournament of Champions, the Lost City, that Netflix movie with who was. It was a Channing Tatum and Netflix.
[00:12:31] Speaker B: But yes, that is who that is.
[00:12:33] Speaker A: And the new Mortal Kombat. Yeah.
[00:12:35] Speaker B: Okay. Okay. The most recent Max one. Okay.
[00:12:38] Speaker A: So early reports suggested Lee Whannell, who directed the Invisible man, would direct and Aaron Berg from GI Joe.
Okay. So this guy has. This is the thing. Aaron Berg, I think only has. He only had credits for movies that are upcoming and one of them was GI Joe. Ever Vigilant hasn't came out yet. So we don't know. We don't know the abilities of that.
[00:13:06] Speaker B: Yeah.
[00:13:06] Speaker A: And they were writing an R rated script. That was what was announced first. In 2015, 2016, the film initially are officially entered development with various storylines and characters focusing and. Sorry. With various storylines and characters. Focuses being considered. And it wasn't until years later that Roth and Mazda were brought on to helm the project. Right. So now we've got Roth and Mazin on here. It's, you know, it's been about a year or two. They're kind of cooking things up. 2020 pre production began. So this film has been cooking since 2015. We're now five years from the announcement of the film.
[00:13:45] Speaker B: Yeah.
[00:13:46] Speaker A: To now we're starting to pre production. Not even shooting. We're just pre production. And what happened in 2020? As we all know, the pandemic. Covid. The pandemic. Exactly. So as you can imagine, that was probably hard. Right.
[00:13:59] Speaker B: Yeah.
[00:14:00] Speaker A: So 2020 pre production began and with the finalized script and Roth as the director, signed, sealed, delivered, I'm yours. Right. Okay. 2021. You like that?
[00:14:12] Speaker B: Yeah. My brain took a second to like.
[00:14:17] Speaker A: So 2021 is when the movie finally entered into production and then with the cast joining. But it's obviously we're still deep into Covid at that point. Like They've got COVID 19 protocols up the wazoo. It was hard for anyone to film things during this point in time. Right. So I basically, I found out that apparently Eli Roth was encouraging a lot of the actors to kind of have this spontaneous energy on set, like just to try to capture, I guess, the spontaneity of the games and like the craziness of the games, which, like, fair. Yeah, the games do be crazy. Do be doing some, some weird stuff. But it's always, it always felt like it was that way because of the writing.
Not even that it felt that way. I mean, it was that way because of the. Right. Like anything that happened in that games, it wasn't like it was procedurally generated, you know, like it, it was written to happen that way. So I mean, but still, like, yeah, some of like the most famous comedy lines from comedy movies are usually improv, you know, so I get that. Right.
So then let's cut all the way to 2023. Two years after 2021. So we're facing further complications with the development of the film and they end up doing a two week reshoot in January.
Now this is 2015-2023. Eight years of film development essentially from idea to filming. That's a long time. Right. So in 2023 they're doing two weeks of reshoots. Eli Roth can't be there. Why? Because he's filming Thanksgiving.
Right. This is the thing when it comes to Hollywood, you, you have these timelines of like when you sign on for projects, you can't, you have to like get things done in a certain amount of time via obviously the studios or investors and the like all these contracts and things get signed. Right. So that, that's all like just like money essentially, you know, but once that's over and it's like also you're signing away like time, like you're saying like I'm, I'm available for this amount of time to do this thing. But then once that's over, like you're free, you, you know, you have no legal obligation. Yeah, so I don't think he had any legal obligation at that point. It had been so long out outside of production. But I think they probably were testing the film and people were going.
And then they said, all right, well let's get them back in there. Well, how are you going to do that when you're missing your director? Right. So they decided to, to get Tim Miller, the director of Deadpool, to step in.
[00:17:06] Speaker B: That's. I felt there for a split second. I thought that he was the director at first.
[00:17:12] Speaker A: Well, a lot of confusion. A lot of who adult. It's here, it's there.
[00:17:17] Speaker B: The original Deadpool. Right.
[00:17:19] Speaker A: Deadpool 1. Right. So Tim Miller steps in not to necessarily reshoot the film, but they're doing. Yes, they were doing two week reshoots, but you can't reshoot an entire movie in two weeks, especially a movie of this size. And what's Tim to Do you know, like, you. Someone has to be the director. Like, someone has to be there to facilitate these reshoots in the set and whatnot. But the fact that it isn't the original director is going to show because the decisions are not going to be cohesive throughout. Yeah, right. So we've got Tim Miller stepping in, and apparently the reshoots were so extensive that this movie that was originally slated to come. Come out in 2021 had to be delayed for an entire year. So now here we are in 2024, where the film finally released. August 2004. It was initially written for an R rating. And what was the rating we got in the end?
[00:18:21] Speaker B: PG 13.
[00:18:22] Speaker A: PG 13.
With multiple hands in the pot. Switched directors twice. More than twice technically, if you count before production, like, actual filming began. Switched writers multiple times.
It's, you know, it was a lot. So that's kind of like to paint the scene of, like, what. What you're walking into with a film like this.
And I'll give it to you from there.
[00:18:49] Speaker B: Yeah, I was wondering, you know, I've seen a lot of chatter on Letterbox, actually, about Eli Roth not being there for the. The reshoots. And I know we've talked about this. I don't remember if we talked about this on our. This new podcast. Definitely not on the old podcast. But a lot of people on Letterbox with this film are saying that Eli Roth did not care, that, yeah, he just gave up. I know you. You just explained everything to an extent of, like, you know, the time is money. You know, not everybody has that. But do you feel like, to an extent, like, I mean, he didn't show because, like, he was doing other things? Like, do you think if he had the time to do it, do you think he would have just showed back up and did it? Or you think he. I mean, personally, we don't know Eli Roth, but I feel like Eli Roth takes pleasure in working and directing.
[00:19:47] Speaker A: So, yeah, here's the thing. I think, you know, obviously I don't want to necessarily invalidate other people's feelings.
[00:19:55] Speaker B: Yeah.
[00:19:56] Speaker A: And their thoughts and their opinions. I'm just going to give you my thoughts and my opinions from what I've seen, obviously, I think that this man does enjoy directing. I think that he even enjoys acting. I think that to do what he does, to be a director, I think you gotta love it. You can't not love it. There's a. Like, you are. You're the quarterback. You know, you've got to pull strings and move heaven and earth. To make things work. But at the end of the day, sometimes you do still have to answer to somebody else that may be a producer, that may be a studio exec, and in this case it's probably the head of Gearbox being Randy Pitchford. Right now. I don't know if you. How up have you been on the Randy Pitchford drama online and how he's. He's been essentially attacking any. I don't say attacking. He's been essentially verbally bouting with people online, mainly on Twitter, who have been giving the film any sort of negative criticism. He thinks the film is great, he really, really enjoys it. He doesn't understand why people don't like it.
[00:21:08] Speaker B: Oh, I did hear about this.
[00:21:10] Speaker A: Yes. So I'm taking that knowledge, I'm taking my own knowledge of knowing how, how hard it is to direct and how much you need to really love that shit to step into that role. Because, because otherwise if you don't love it, you might as well just do something else. Like, that isn't as big of a responsibility in the film world that you, you know, you might also love, but, like, isn't going to be as stressful, you know?
[00:21:38] Speaker B: Yeah.
[00:21:39] Speaker A: Like, if you really love gaffing, like, you can be the greatest gaffer there ever was, like, and probably be super fine and content with that. But if you really love this shit, like, you really like direct, you know, so. And I think that that, that is Eli. Like, I watched his movies like Hostel, I used to love Hostel as a kid. And you know, the Green, even the Green Inferno, you know, I notice there's some people that don't really like the Green Inferno, but I enjoy it. You know, I look at those films and how those are, how those were directed and I think about how that could have been translated into a Borderlands game. A Borderlands movie. Sorry.
And I can see it. I can see like, because, you know, fans of the Borderlands franchise know there's blood and gore everywhere. It gets messy, but it's, it's cartoony, you know, like, it's, it's cel shaded animation graphics. So it's obviously gonna like, as, you know, you can make it super, super gory, but it's always gonna have that element of like a little whimsical, you know, and it's never played up for, for a young audience, it never has been. Yeah, that's why it's always been rated M for mature.
I think that he made a movie initially that he thought was going to be good for the fans of the franchise. I think him. And there's his writer initially, that R rated film. And you know, nowadays, you know, we, we hate to hear about it, you know, the, the air cut and the Snyder cut. Like, people get sick and tired of like, you know, they always say, like, I want your cut initially, but the reality is that doesn't always happen because like I said before, like, you can be the quarterback of the team, but you still may have, you know, a faculty member that puts the money into your sports team.
[00:23:33] Speaker B: Yeah.
[00:23:33] Speaker A: You know what I mean? You still have somebody that's funding, funding this boat.
[00:23:37] Speaker B: Yeah.
[00:23:38] Speaker A: They may not be the one on Boots on the Ground, like really getting in there like you, but without their funds, you can't do what you're doing. So at the end of the day, you got to answer to them.
And if they're not willing to sacrifice a bit of maybe what their vision is, what they're looking for, what market they're trying to dive into, then sorry, Charlie. Like, it's, it's what you got to do. And I think that's what happened here. Especially looking at how Randy has been acting online, I think it's very clear that he had a vision for Borderlands movie and he really wanted it steered in that direction.
And maybe he, maybe initially he was like, oh, yeah, like we get Eli Roth in there, who is known for blood and gore, and we'll have a great Borderlands film. But maybe somewhere along the lines you realize, oh, maybe, maybe, maybe the fans aren't really going to receive this in the way I'm thinking they're going to. So maybe we need to open it up to a wider audience so we can get new fans. Yeah, that was where you fell. Because the thing is, what movies like these, you know, Borderlands is a big ip, but it's not Halo. It's not the biggest IP in the world. You know, it's not Mario. You're not going to just, you're not going to be able to just garner new fans that even if you make a PG13 movie, like, we saw it, our theater was empty, as were most people.
[00:25:00] Speaker B: There was more than there than I expected.
[00:25:02] Speaker A: Yeah, but there was still not. Like, we've seen some movies anywhere. It's packed.
[00:25:07] Speaker B: Yeah.
[00:25:07] Speaker A: You know, so it's one of those things where I'm just like, all right, I think you're better off in terms of your marketing of your film at this point. Making a film that is really gonna get your core fan base out into the theaters and let them market for you, let that Word of mouth spread. Let those review. Because, you know, like when movies come out and then the reviews come out and they're like. And like they do like post movie release trailers where it's like critics are in, reviews are in, certified fresh. Like, you think we're getting that for Borderlands? No, no, but you could have.
[00:25:43] Speaker B: Not always.
[00:25:44] Speaker A: Exactly. You got to first obviously write, direct, shoot, edit a great movie that people want to see and then let them see it, and then that word of mouth will spread. Those people online, those letterbox reviews, those YouTube reviews, those podcast reviews are all going to spread that news and make people go out who weren't. Who are on the fence. You know, we got to get like. Like as filmmakers, we got to fight for people to come to the theaters nowadays. You have to.
[00:26:14] Speaker B: Yeah.
[00:26:14] Speaker A: You know, you and a lot. I know a lot of studio execs, they think that the way forward is just IPs. We'll just keep rehashing every big IP because that's people. People are gonna go see it because they already like it sometimes.
Sometimes. But then you also have movies that are completely original stories that stand on their own that people are also going out to see. And with either in good marketing, good word of mouth, or a combination of both, I. E. Long legs, you got a movie that does phenomenal.
[00:26:49] Speaker B: Yeah.
[00:26:49] Speaker A: Solid reviews, good long stretch in the theaters. That's that. I don't know why I'm pointing at the camera. That's how I feel like you really write, shoot, edit, direct release and then market a good film.
Trust in your team, trust in your directors, trust in your actors, trust in your editors, and then release it. Let. Let your fans, your core fans, come enjoy something good, you know?
[00:27:20] Speaker B: Yeah, no, I agree with you. I. It's interesting because like, I've. It was very.
This just felt like a very stereotypical Guardians of the Galaxy rehash. And we've been getting a decent amount of those. You know, where people take a rag tag group of people and are like, like, let's just make them a team.
[00:27:41] Speaker A: And there's nothing wrong with that. There's absolutely nothing wrong with that as even being a trope because of so many. Like almost every horror movie has that trope. You know what I mean? Like, it's all. It's just packaged slightly differently, but it's. That's where you get all of the different stereotype characters and then they're all usually from different walks of life and then they band together to. Charlie's sometimes try to band together, you know, at Least and try to get not dead, you know, and, like, you see that in horror movies. We see that all the time in superhero movies, obviously. Like, it. You know, it's. It's not even like something where you can really knock someone for doing right, but I feel like we do got a knock you when you're doing it so bad.
[00:28:28] Speaker B: I just felt it was very blatant, like, blatantly obvious that, yeah, it was trying to be Guardians, you know, it just was like. I don't know. I felt like it was so lifeless in that aspect of just like. Okay, well, yeah, like, because I. I've seen Dungeons and Dragons and. And I'm not a. I don't know much of the Dungeons and Dragons lore or whatnot, you know, never played, but I enjoyed it. You know, it was not like the. Like the greatest film ever, but it was a very good film.
[00:28:57] Speaker A: Very entertaining.
[00:28:58] Speaker B: Very entertaining. Yeah.
[00:28:59] Speaker A: Yeah. And you know why you. Why you liked how they did their versions of Get a ragtag group of team together to go do something. Because they made you care about individual characters. Every character had a character arc. Every character had a hero's journey. You know, whether it was big or small, they each had something to gain, something to lose. There were stakes involved. This film didn't have bad. Yeah, sadly.
[00:29:26] Speaker B: Yeah. Before we get into the big, big review, I do want to kind of touch a little bit like, you played the games.
I have never played the games.
Was this adaptation justified at all? Like, do you. Did you in, like, feel like they did a decent job, or was it, like, what did we get?
Like, did we get a. What's a comic book or a video game? Did we get a Last of Us, or did we get, like, Mario from the 90s?
[00:29:59] Speaker A: You know, I wouldn't even say that. I would say that there's. There's definitely tiers below Mario from the 90s, because I feel like Mario from the 90s is a. Is one of those bad, good films. I feel like it's like I remember watching as a kid and thinking, this is great. And then I got really. But I. But I also didn't play a lot of Mario when I was a kid. Like, yeah, I play a little bit of 64 and a little bit of Sunshine, but they were never games that I owned. It was always playing him at a friend's house, you know, so, like, I wasn't, like, super into the ip, so I thought that movie was great. And then when. It was only when I got older that people were like, what are you talking about this is trash.
So I feel like that's one of those ones where it's like a bad, good film. This film is not a bad, good film. And I don't. When you say justified, do you mean like, like, does it need to exist? Is that what you mean?
[00:30:50] Speaker B: No, like I'm more so justifying. Like, like how, how good of an adaptation is it? Like. Oh, very bad.
[00:31:00] Speaker A: So bad.
[00:31:01] Speaker B: Who, whose performance did you like the most? Like, who do you feel like performance was like, pretty good adaptation wise?
[00:31:10] Speaker A: Ariana.
[00:31:11] Speaker B: Ariana.
[00:31:12] Speaker A: Yeah. Yeah, I would say I, I, I would say, yeah, I would go, I would go to hers first because it's a vocal and a physical performance. And then after that I would go to Jack Black because it's just a vocal performance. But he did pretty good as Cloud Trap. I won.
Voice wise. I mean, claptrap is always kind of like the like weird, annoying, joke, cracking robot guy, you know, like. Yeah, and he did that well. Ariana, I feel like pretty much hit tiny Tina on the head.
I think they could have obviously given her more to do and given her more crazy lines and just more, just more in general. Just give me more, give me more and maybe it would have like stuck out even more.
But yeah, I think those two pretty solid.
[00:31:55] Speaker B: Okay. How did you feel Kevin and Kate and, and Jamie will throw her into.
[00:32:01] Speaker A: A lot of people keep saying that they think that, that Kate was sleepwalking through her performance. I don't, I don't like saying things like that and because I feel like, you know, you really don't know. And I think that unless it's a situation where it's like, it's like one of those movies that gets like, that gets filmed and then you hear about in the press run that the actor did not want to be there. Like they tell you like in, you know, they're like doing interviews and they're like saying like, yeah, like, you know, blah, blah, and like you hear about some drama going on. I think that's the only time that you should really be like, yeah, someone's sleepwalking through their performance. Because like, I don't think that she is. I think she's just not given a lot. And it could also here's the thing too, because like you're gonna tell me that at Academy Award winning actor or maybe nominate. I'm not sure she's actually won an awards. Maybe she has. I'm sure she has in the past. I'm sure she has. Phenomenal. I'm sure she has. Yes. But Academy Nominated, Academy Award winning an actor is going to sleepwalk through a role.
[00:33:08] Speaker B: Yeah.
[00:33:09] Speaker A: You know, like, it's like they take their stuff seriously, and I'm sure she took that seriously too. But at the end of the day, if the writing and the director is telling you to act this way, you're giving them what they want. You know, there could have been 20,000 takes and 19,999 of them could have been like, crazy, amazing, good. But if the director and the editor chose that one take that they felt like that match more matched the vibe of what they were going for.
There you go. That's it. So, you know, I struggle to agree and say that like she slept walk through a performance, but I do feel like what the performance that was given, not. Not just. I won't even say that it won't see the performance because it's not. It's not. I'm not putting that on her. I would say the way that they wrote her character to be isn't how Lilith acts.
And I'll also go as far to say she's honestly miscast. You know, it's definitely an issue of being miscast. The character of Lilith could easily be an older 20s or a mid-30s. Not really a late 30s, and definitely not 40s or 50s plus.
[00:34:25] Speaker B: Yeah.
[00:34:26] Speaker A: Same for Tennis, same for rolling.
Miscast. Yeah, very miscast.
[00:34:34] Speaker B: Yeah. I don't know from watching them, I think there's bits and pieces there where they, like, seem to, like, shine. You know what I mean? They each have their moments, but I just feel like. I don't know, it just.
Maybe it was the way that they edited the film or cut the film or whatnot. And just the way that they went with the film. It just felt, like I said earlier, just kind of like soulless or lifeless to an extent.
[00:35:05] Speaker A: Yeah.
[00:35:07] Speaker B: And if you want, we can just jump right into the more of the spoiler type of reviews deeper in.
[00:35:14] Speaker A: Yeah, we definitely can. Yeah, let's. Let's get into it.
[00:35:17] Speaker B: So if you haven't seen the movie yet and you want to stop what you're doing now, put us on hold, put us on pause, whatever you need to do. Clap on, clap off, and go see the movie. We still encourage you to see the movie.
[00:35:31] Speaker A: Always see them.
[00:35:33] Speaker B: If you haven't, if you aren't, then, you know, what are you doing? Why are you listening to us? But I know a lot of people like to listen about the. The movie before, right. They go, I don't get those people, but I understand that they do do that. They do do that, but. Yeah. So we're gonna get into spoilers right now, and if we have enough editing skills, transition.
Anyways, so we get an opening shot. They're in space. They're, like, hovering the Borderlands planet, which I don't remember what it's called.
And we get this opening with Kevin Hart, and we introduce Tiny Tina and whatnot.
I'm not gonna lie. When we got after Kevin Hart gets through kind of saying he's gonna save Tiny Tina, and then they break out.
Krieg.
[00:36:29] Speaker A: Yeah, I thought Cree broke himself out.
[00:36:31] Speaker B: Oh, yes. Cree broke himself out. I'm sorry. Cree just.
[00:36:34] Speaker A: Creek just literally broke himself.
[00:36:36] Speaker B: I thought that one.
I thought that he was gonna be, like, an adversary. Like, I thought he was, like, maybe gonna be like. You know, because if we're going with Guardians, which. That's what this film is trying to be to an extent, you know, Drax isn't really, like, a good guy in the beginning. Like, he's kind of like a slight adversary. To be like, oh, like, you know, Gamora pissed me off. You know, he. She's related. Thanos. You know, I hate her. I want to kill her.
[00:37:03] Speaker A: Right.
[00:37:03] Speaker B: You know, So I thought that that was what was going to happen. I thought that, you know, we were going to get. That we might get Kevin Hart, who's trying to be Star Lord. I feel. I feel like he's trying to be Starlord to an extent, but I also then feel like Cate Blanchett is also trying to be Star Lord regardless.
[00:37:20] Speaker A: Yeah.
[00:37:22] Speaker B: He just, like. They're just like, oh, let's do it. Let's save the. Save Tiny Tina. I was. I wasn't prepared for that. I was, like, thinking that we were gonna get, like, maybe Kevin Hart's first shine of, like, he's not just some goofy man. Like, he's. He's capable of, you know, doing things and he's capable. And I just felt like, as an actor. Not as an actor, but as his character, like.
[00:37:46] Speaker A: Oh, like Roland.
[00:37:47] Speaker B: Yeah, as. Yeah, I'm sorry. Roland. As Kevin Hart, who is playing Roland.
[00:37:51] Speaker A: Gotcha.
[00:37:52] Speaker B: I felt like we were going to get this heroic moment with him, and I felt like we didn't get that to an extent, from what I remember. But.
[00:38:01] Speaker A: Yeah. Well, the hallway scene, he threw the.
[00:38:04] Speaker B: Exploding in the first scene.
[00:38:07] Speaker A: Was that the first scene? No, the hallway scene towards the middle.
[00:38:11] Speaker B: Yeah, we'll get there. But I don't know. I just.
[00:38:13] Speaker A: Are you just saying. Just in this.
[00:38:14] Speaker B: Just in this scene, the opening sequence, I was expecting to see him Heroic, you know, in some. Like.
[00:38:21] Speaker A: I guess you're right. It was just kind of like, we got to find this girl, and then they found the girl, and then they kind of just hard cut it out of there. Yeah, yeah, yeah. That was. That was weird. I will say, because I think I mentioned this to you when we came out of the film that, like, the two things that made me upset about that, that opening sequence was one, how are you gonna have Creek bust himself out? If Cree could have busted himself out, then Creed could have busted himself out and busted Tiny Tina out forever ago. If they be besties, if they see besties, don't do that. That's. That was very silly. The other thing was that I'm not a fan of cold opens unless you're doing it for a purpose. Like a. Like a. Like, it has to serve the film that didn't really serve the film. And, like, yes, you could say, well, how else would we get Tina out of there? Well, what I would tell you is to take that part out of the film, take that whole sequence out of the film, and have the movie start in a place where Krieg and Tina are already on Pandora. Maybe Roland is also on Pandora with Tina doing whatever, or he's doing something else, and you can have Roland and Lilith, like, joined together in some way to find Tina. But I didn't like that, because a lot of times when you do cold opens, it's a starting to stop, right? We got to build momentum. We got to get that. That rising action to the climax and then come back down. And then you just repeat that cycle over and over again throughout the course of the movie. But, like, that open didn't really have much of that at all. It was just kind of like, all right, we jumped in there, we're shooting things, and we're trying to find the girl, and then it just cut, and then it goes right back to zero. And if that initial bang isn't, like, really banging, then you're really. You're going to feel like you were. You went like. And then just coasted and then went.
So, like, you're just. You know, like, the energy is just bad now. Like, it's not high.
[00:40:33] Speaker B: You're.
[00:40:33] Speaker A: You're now 20 minutes into your film, and you're like, all right, well, what's next? You know, like, that's. And that's what happens when you do stuff like that. Like, you. You really went, whoop, whoop.
We're still at zero. So that's what I didn't enjoy about the Opening.
[00:40:53] Speaker B: Yeah. I mean, I agree with you. You know, you're a little more technical. Mine was just like, he's not a hero, you know, but they're not balancing as.
And then we get. What do we get next? We get introduced to Kate.
[00:41:11] Speaker A: Yeah.
[00:41:12] Speaker B: You know, and again, it's almost like.
[00:41:14] Speaker A: We'Re doing another cold open with her.
[00:41:16] Speaker B: Yeah.
[00:41:16] Speaker A: You know, we're starting off and it's like, well, we gotta show her being a badass.
[00:41:21] Speaker B: Yeah.
[00:41:21] Speaker A: And she's. She's in a bar and she's gotta rough up some guys. Yeah. Yeah. Look at Lily.
[00:41:28] Speaker B: And there was like some cool like science fiction aspect stuff with like, you know, the, the guy wearing the weird face thing that like shows him having somebody's face but it's not his face, you know?
[00:41:41] Speaker A: Yeah.
[00:41:41] Speaker B: I thought that was cool. You know, I'm a sci fi nerd. So I was like, okay, that's kind of interesting.
[00:41:45] Speaker A: I would, I would honestly not. I would do without all of that. Take all that away. It wasn't because there wasn't in like this movie. And if that is a movie adaptation of a video game that is known for being the game about a million guns and we had like two different guns in this. So if we can maybe focus less on weird cool face holograms, we can get some cool ass guns. That's what I wanted. That's why I feel like a lot of the fans.
[00:42:17] Speaker B: I feel like there wasn't a lot of guns in that.
[00:42:19] Speaker A: You know how many legendary guns there are in Borderlands that have really random legendary effects that could have been utilized in this movie. That's the fans, like the, the fan service. What is. Is like easily there and available for you when you're doing a video game adaptation. It's so. Because you don't, you don't have to really try hard or work for it. And yeah, some people are going to just go.
[00:42:46] Speaker B: Yeah, but that's.
[00:42:47] Speaker A: Sure, but that's what we're here for, right? What do we, what did we. Did we come here for Citizen Kane in our Borderlands film? No, we came here for guns. Violence, gore and really goofy dialogue. That's. It's funny because it's like, it looks childlike, but it's very vulgar and crass. That's why that's, that's Borderlands humor.
[00:43:10] Speaker B: Yeah. It's like Conker's bad for day. I don't know if you know who Conker is.
[00:43:14] Speaker A: Nope.
[00:43:15] Speaker B: It's N64 game by. But it's like he's like a Cartoon squirrel. But he's, like, really raunchy, you know, he's like, yeah, like I said.
[00:43:23] Speaker A: And that. And it's. It's that. That's it. That's it right there. But don't do it. What happened here? I don't know what that. That opening was with Kate. I can't say Kate with Lilith. I don't know what that was.
It felt also like you could have taken that out. Take that beginning part out. Take that in that. That second beginning part out. Because you cold open twice. You started to stop twice now, and now we're 30 minutes into the movie. Start on Pandora. Just start her on Pandora because she. Because we do another cut, and now all of a sudden she's on Pandora and she's. And they're. And they've got the. The voiceover going. All right. If you're doing voice voiceover most of the time, if you're doing voiceover in a film, you're using it at the beginning or the end or both, or you have one of those special movies where your protagonist is kind of helping narrate throughout to kind of give you. To give the audience more of a leeway into what's going on in their mindset and our mind state and just help them along the film. This movie wasn't like that, though, Which. Which was annoying was that you didn't have Lilith talking throughout the movie. You only had her doing it more so in the beginning. And I think maybe at the end. I think so.
[00:44:41] Speaker B: Take a little bit.
[00:44:42] Speaker A: Yeah. And just. It did. It didn't feel needed. Especially when this wasn't like a character piece. You know how some films are. Like, they're about a specific character mainly, and everyone else's story kind of revolves around them. Except for the other way around. Sometimes it can be the other way around. And those movies are definitely a little interesting, too, when it's supposed to be a character piece. But this was neither. This was, like you said, was kind of packaged a bit like a Guardians film, but with the Borderlands lens.
But you had two cold opens and a narrator who wasn't narrating for the first cold open, who narrates the second cold. You know, it's like some choices that aren't really making a lot of sense.
[00:45:32] Speaker B: Yeah.
And then the film kind of just exists, in my opinion. I feel like. Yeah, like, she, like, shows up on Pandora and she gets kind of where she needs to go, and then, like, nothing really exciting happens, really, until, like, they get to the bus, you know, section and Even then, that's kind of like a little meh to me. Like, I don't know, like, it was kind of like, oh, like, just trudging along. Tiny Tina got bombed. Teddy bears. You know, that's kind of funny. She really doesn't want to go back with the. The.
Her dad or go back to her dad or whatever. And it really doesn't feel like I don't. I just feel like I don't get invested again.
I really don't feel like I get invested again at all until, like, the ending of the film.
[00:46:23] Speaker A: I. I feel like I never got invested. I'll be real.
[00:46:26] Speaker B: That's fair.
I do want to talk about the sequence where it's pretty far in. Where they go.
They're in the extra. You know, I don't. What is Creed's people called? Like, the people?
[00:46:39] Speaker A: Psycho.
[00:46:40] Speaker B: Psychos.
[00:46:40] Speaker A: Okay.
[00:46:41] Speaker B: They're, like, in the extra bad psychos area. They go into, like, the, like, the acid, like, tunnel and, like, sewer thing.
[00:46:51] Speaker A: Yeah.
[00:46:52] Speaker B: And I just feel like that sequence was bad. Like.
[00:46:55] Speaker A: Yeah.
[00:46:56] Speaker B: I wasn't thrilled about it. I was like, okay. And then, you know, this is where we get Kevin Hart, AKA Roland's big heroic moment.
[00:47:06] Speaker A: But, like, you go, I'll stay.
[00:47:08] Speaker B: Yeah.
[00:47:09] Speaker A: I'll fend them off.
[00:47:10] Speaker B: I got thrown off, though, because him and Creed are going out there and they're kicking ass, but they shut the door, and then there's, like, a million other psycho people still running up on them, and then they just show up. Do you remember that?
[00:47:24] Speaker A: No.
[00:47:24] Speaker B: They just show up behind the gate, and I'm like, where the. Where did they come from? And that. I was like, where. Like, maybe I'm remembering it.
[00:47:31] Speaker A: Some weird editing there.
[00:47:33] Speaker B: Yeah, maybe I'm. Maybe I'm remembering it wrong, but. Don't remember that.
[00:47:36] Speaker A: But that's. That sounds about right.
[00:47:38] Speaker B: Yeah. I just am like, why did they. How they show up? How'd they get behind this? Like, I just was like, ah. I was like, this is not. Like, I don't know.
[00:47:46] Speaker A: Yeah.
[00:47:47] Speaker B: I was like, this is not a cool sequence. Like, you know, it's not. If we were referencing Guardians still. Like, Guardians 3 does a cool tunnel sequence. You know, they're in, like, a hallway. Yeah, it's a hallway sequence, you know?
[00:47:59] Speaker A: Yeah. But like, that. That's different, too, because I feel like a sequence like, that was a big payoff for a lot of things happening like that. Like, you. You don't always get to just have action happen sometimes. You know, Sometimes you got to work up to it, and that sequence was a big, like, working up to it. Like, obviously, you know, they're towards the later half of them of that movie. And you had, you know, like, it, like, where all the characters were in their character arc at that point. Like, it all just converged into this moment of. All right now we got to, like, really team up, suit up and kick ass. You know, we didn't have. Like we mentioned earlier, we don't have. We didn't have any of that in this film. There was no. There was no Hero's journey. There was no. We're gonna start the characters here, and by the time we get to this hallway scene, we're gonna really care whether or not Roland lives or dies. There wasn't. There wasn't that. There were no stakes. There were no.
Like, you. You never felt like any character was really in peril.
[00:49:06] Speaker B: Yeah. Yeah. It wasn't like the.
If still referencing Guardians, the.
The standing in a circle, you know, reference or scene where, you know, they're deciding to save Xandar or not. You know, we don't. We don't get that. I mean, we kind of do when they meet up with Jamie Lee. But, like, I don't know, it just seems so pointless.
[00:49:33] Speaker A: Yeah.
[00:49:33] Speaker B: Like.
[00:49:34] Speaker A: And no, it is pointless. It is pointless because they were never given a hero's journey. That's why. That's, like, I deduced this, like, pretty soon after we left the theater. I was just, like, really thinking about it, and I was like, what? Like, what is just, like, the main reason this is just not working. Like, I'm sure you can pick this movie apart just because no one has a real hero's journey. Like, you can't just say, okay, here's the story. We gotta get the. Like, it hurts my head to even think about. We gotta get this girl who is supposedly the key to opening the vault, and we gotta keep her away from her dad, and she's the key to the vault.
But. Okay, so why are you here? Well, I'm here because I need money. Why? Why do you need money?
What is that money really gonna do for you? What is that? You know, like, we knew why Star Lord was a thief because his life trajectory led him to the path of thievery, where he was raised by thieves and taught him that thievery was valuable. And son, something that was a good show of, you know, your worth, you know, so that made sense. And they did that in one movie.
They showed you why he was on his path, why he was on his journey's journey. We were shown why Gamora was on her hero's journey and what. What she. What was at stake for her.
Same thing with Drax, same thing with Group, same thing with Rocket.
We don't know really why anyone's doing anything outside of we're all just here to open the vault, I guess, before Atlas does. Sure.
That's really it. And if we all have the same hero's journey, then we effectively have no hero's journey. There's. We can't all like. And it's not even like, the sense of like. Because, like, okay, I could see someone maybe wanting to argue with, like, well, look at Lord of the Rings. You know, technically, everyone has the same heroes, but that's not necessarily true. Like, yes, everyone has the same goal, but when you think of a hero's journey, right, you got to think about what you as a character, what your wants, needs, and desires actually are, because it's always going to be different than someone else. You know, like, you and I may both want to have a really great podcast, but you and I both may have a different want in terms of that, and we might need something different in terms of that for each other. You know what I mean?
[00:52:28] Speaker B: Yeah.
[00:52:28] Speaker A: So, like, that's where I say, like, yeah, it's like these characters all had the same goal, but they did not have Hero's journey at all. None of them did.
And that made this movie fail. Yeah, a lot like it was.
It's sad because it's like the writing was there, like, not in the movie. But in terms of the video game, the way that the video game is structured, it's pretty simple. You're a vault hunter. You're a character. You create the character. Not say create the character, but you pick a Vault Hunter, and they're every game a new set of four different characters. They have their own little powers, whatever. And you're tasked with basically just kind of like going and figuring out how to get into, like, the vault, you know, in each game kind of. Well, I haven't played one, so I don't know if there's a vault in one. I would assume. So there's a vault in two. And is there technically a vault in three? I think there's a vault. I think. Is that a vault?
But the thing is, like, you're a vault hunter, right? Vault hunters hunt vaults. They want loot, they want treasure. Guns, Money. Mainly guns. You want guns? Guns are cool, right? We like guns. So you go around to different characters in the Borderlands universe, and they're kind of pushing your Story along. Like, you go meet up with Scooter and his mom and they're like telling you, like, hey, like, you know, we got this like, gig for you. Like, we'll, we'll help you get, get some wheels. You need some wheels. You need, you need to be able to traverse Pandora. Well, come help us do this thing real quick. And I got you. Now you got a four wheeler. Now you got a four runner. Now you can take that Forerunner and drive on down the, you know, this other area in Pandora and meet up with Dr. Zed, Dr. Z, he's gonna get you a nice shield, you know, do a little mission for him. He's gonna get you a nice shield. So now you, now you can take more bullets. Right now I'm gonna go find Marcus. Marcus is gonna set you up with a nice good gun, start you off, you know, teach you about different types of ammo, grosses, slag, electric, stuff like that. And it just keeps on going and amping up. And then you, you have like, factions. You've got the psychos, and they're just psycho. And they do crazy things. They just, they have no real aims. You have Crimson Raiders, who are like the militant group Atlas, another militant group, you know, and they all have their own, like, morals and things that they're doing. And you get involved with them in different capacities, but it pushes this, the narrative forward that leads you to this point at the end. You know, there's always going to be a big bad, a villain who is ultimately just trying to get their own vault and take over the world or whatever the heck they're trying to do, you know, so they're always opposing you, but, like, the structure is there.
The, the games put the structure there for you how you can make a movie like this. You just got to really nail down your look, your vibe, your casting, writing a cohesive story that makes sense and like, knock it out of the park. I want to do a quick shout out to One Piece and the team behind that. Everyone who works on that, every, every actor, director, writer, gaffer, lighting guy, like everybody who works on that does a fantastic, phenomenal job. And it shows on the screen. You know, it's a great adaptation. I haven't even seen that many One Piece episodes, but from what I have seen, it feels like a great adaptation. You know, it feels like, at the very least, something that is entertaining and enjoyable to watch.
And like, I like how, like, in the show, they do the wanted posters in the, in the TV show, the live action and the anime they do the wanted posters. You have something similar like that in the games of Borderlands. Every time you meet a new character, they would always kind of slow the screen down and do kind of like a. Almost like a little title card. Be like, ian Drennan likes puppies. Like, and now you know who that person is. Like, it's nice, fun little nod. They don't do that in the movie. So it's like stuff like that. It's like, why take that out?
Why? You're taking away the DNA of what the, what the game is, what the fans are going to be looking for.
So. Yeah, I know, I know. I talked at length there.
[00:57:09] Speaker B: But you're fine. Yeah, I know. We probably wrapping up here soon before we'll get into final thoughts and then. Game or special game? Not the game, but whatever you got cooked up.
[00:57:24] Speaker A: Yeah.
[00:57:26] Speaker B: So you do want to talk about Alice as a villain in this movie. Yeah, for brief.
Whatever much time we got.
[00:57:37] Speaker A: Yeah. I just wanted to say about Alice that I didn't like the character because I felt like it. It should have been Handsome Jack. Handsome Jack is like the definitive Borderlands villain. Every fan loves Handsome Jack. If you wanted to really get the fans in seats, that seemed like a no brainer. Like a no brainer. And like also, who is Atlas? Atlas is a company, not a person, you know?
[00:58:05] Speaker B: Yeah, they made them like, they made like Jeff Bezos type character.
[00:58:09] Speaker A: Very silly, very weird. Like, name him, please. He can, he can still work for Atlas, but he can also have a name.
And that's all I'll say about that. Just.
[00:58:20] Speaker B: I didn't like him. I didn't like the villain. I thought his villain was really weak.
[00:58:25] Speaker A: Blair.
[00:58:25] Speaker B: Super bland. Super like, you know, you got, you got a bag of Lays original or you got a bag of barbecue Grippos, which if you're Ohio. Ohioan, you, you know, at least Columbus, at least you should know. Yeah, but we always going to go with the grippos and that, man. Ain't no grippos.
[00:58:47] Speaker A: No grippo.
[00:58:48] Speaker B: Yeah.
[00:58:49] Speaker A: Ain't got no flavor. No seasoning.
[00:58:51] Speaker B: No. As they would say it was. His villain was so bad.
[00:58:56] Speaker A: It's bad.
[00:58:57] Speaker B: Like, like people will try to argue about Marvel villains, about how one dimensional they are and I just was like, at least they got something. Yeah, I mean like this guy felt like he was a. A zero, you know, I mean like besides he had money, you know, but anyway, any final thoughts on the film before you give your rating?
[00:59:25] Speaker A: I really, I just really want, I want, I want us to do better.
I hate to sound like the disappointed dad, but that's how I feel. Like I better. Like, just.
Come on, man. Like, let's just.
Let's just cut the crap and if there is a next time, let's get it right next time. I don't care if that means beat for beat. You recreate Borderlands to the movie. I don't care. Let's just get it right next time.
[01:00:01] Speaker B: Maybe we do a TV show instead. No, no, it has to be a movie.
[01:00:06] Speaker A: Ask me.
[01:00:07] Speaker B: Okay.
I don't think. I don't think they are going to.
[01:00:11] Speaker A: I also don't think they're going to. Who knows? If Borderlands 4 sells like a bazillion copies, then maybe the. Maybe they'll. Yeah, because you can throw away money at that point if you've got it. Got it. How do they got it out? They got to recoup costs with that. But I think they.
[01:00:26] Speaker B: What was it? They like, it was a $15 million project and they didn't even make a million or something like that.
[01:00:33] Speaker A: That was maybe like four. I don't know. Something like that. They didn't make a lot.
[01:00:36] Speaker B: No, not at all.
Final thoughts for me, it's not very great. It doesn't really have very good story.
Characters are kind of just not annoying, but just there.
[01:00:48] Speaker A: Yeah, it's just.
[01:00:49] Speaker B: And that's what makes it annoying is that they just are there.
[01:00:52] Speaker A: They're just there.
[01:00:53] Speaker B: What's your final grade?
[01:00:55] Speaker A: I want to. I want to try to do a thing now when Trying to do a thing because I feel like we have. We have this. This unique opportunity because we just started new. New pod, right. Real heads pod. Catch us on anywhere.
I want to. I'm going to create a rating based off of the movie itself. Like, based off of like what's. What's going on in the movie. I'm going to say this is. You'll get what I. What I mean when I say. Okay, I'm going to rate this movie.
Clap trap. Pooping out bullets.
You see what I mean?
[01:01:31] Speaker B: Yeah, I get what you're saying.
[01:01:32] Speaker A: Yeah.
[01:01:33] Speaker B: Yeah, I agree with you.
[01:01:35] Speaker A: So you take that what you will. What you feel like that rating means, then that's what it means to you. Yeah, I know what it means to me.
[01:01:44] Speaker B: I agree. It's that.
[01:01:45] Speaker A: You agree. It's that.
[01:01:46] Speaker B: Yeah.
[01:01:47] Speaker A: Okay.
[01:01:47] Speaker B: All right. I. Maybe even Kevin Hart in the tunnel and then just appears behind a gate.
[01:01:56] Speaker A: Yeah, yeah, I feel you on that. I gotta see that scene again.
[01:02:00] Speaker B: Yeah. I feel like maybe I'm remembering it.
[01:02:02] Speaker A: Wrong, but you Might have been. I don't know.
[01:02:03] Speaker B: I feel like that was literally a distinctive moment where I'm like, are they going to beat up people? But how they gonna get back? And then they just show up. I'm like, oh, that's how.
[01:02:12] Speaker A: Okay, that's exactly how they just show up. The power of editing went through a wall. You ever heard of a slice tool?
[01:02:17] Speaker B: Yes.
[01:02:18] Speaker A: Yeah.
[01:02:18] Speaker B: Yeah.
[01:02:19] Speaker A: Does wonders.
[01:02:21] Speaker B: All right, well, we're going to take a small break, and from there we're going to play a game, which I think is.
[01:02:26] Speaker A: Oh, we got to end it.
[01:02:27] Speaker B: We got to end it.
[01:02:28] Speaker A: Yeah, we got to end it. End it. Oh, yeah. Well, we'll end it and restart with the game.
[01:02:33] Speaker B: Oh, okay.
[01:02:34] Speaker A: Yeah.
[01:02:34] Speaker B: All right, well, then I am confused now, so if you want to close it.
[01:02:40] Speaker A: No, it's okay. I'll. I'll. I'll close out a. Yo.
Thank you, guys. Thank you guys for listening. Thank you guys for tuning in. Some of you guys will catch on Patreon. Some of you guys. We possibly may not, but come hang in the Patreon. We. We got vibes down there. And there's no clap traps. Absolutely none. No, none. Banned.
[01:03:02] Speaker B: Not that I know of.
[01:03:03] Speaker A: Banned. If your name Clap Chap. And you want subscribe to Patreon. Banned.
[01:03:07] Speaker B: Dang.
[01:03:07] Speaker A: Actually, now you can subscribe.
[01:03:08] Speaker B: Yeah, I was going to say you don't want to.
[01:03:10] Speaker A: No, you can subscribe that far. No, that's okay. Thank you, guys. Have a great week. We'll see you again next time.
[01:03:18] Speaker B: Yeah, we'll see you later.
