The Grudge

[00:00:00] This week we're revisiting one of the scariest horror remakes of the 2000s, The Grudge.

[00:00:05] We're diving deep into the curse that terrified audiences and left us all afraid to turn off the lights.

[00:00:23] Welcome to the No More Late Fees podcast. I'm Danielle.

[00:00:26] And I'm Jackie.

[00:00:27] And we're just two best friends, an ex-blockbuster employee rewatching some of the best and worst movies from the late 90s and early 2000s.

[00:00:36] This week we're talking about the 2004 supernatural horror film The Grudge.

[00:00:41] But before we dive into the terror, let's get into some housekeeping.

[00:00:51] We should never start a band.

[00:00:54] No.

[00:00:58] Don't forget to leave us a review on Apple Podcasts, Spotify or wherever you listen.

[00:01:03] Your feedback feeds us and also helps us grow.

[00:01:07] So we love hearing from you.

[00:01:08] And this week we have a new review.

[00:01:11] It's titled Perfect Hit of 90s and Y2K Nostalgia.

[00:01:15] This podcast is so much fun.

[00:01:18] The hosts are best friends and it shows.

[00:01:20] Their chemistry is fantastic.

[00:01:22] The episodes are full of insightful and hilarious commentary.

[00:01:26] And I look forward to this show every week.

[00:01:29] Thanks, Jim.

[00:01:30] That's one of our pod pals from Busy Signal Podcast.

[00:01:33] If you haven't checked it out, it's full of nostalgia.

[00:01:35] Check it out.

[00:01:36] And while you're leaving a review, make sure you hit like and subscribe so you don't miss an episode.

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[00:01:54] Because why not?

[00:01:55] Why the fuck not?

[00:01:57] Promote us, please.

[00:01:58] My strategy is always to wear our No Barley podcast merch in airports.

[00:02:05] Hoping someone is bored enough and needs a new podcast to listen to that they're like, that kind of sounds interesting.

[00:02:12] And maybe adds it to their Spotify.

[00:02:15] I wear it when I go walking into the gym.

[00:02:19] So if someone is ogling my boobs, they will read it as well.

[00:02:25] Great marketing strategies we've got here.

[00:02:28] Walking billboards.

[00:02:29] Yeah.

[00:02:32] But this week, we are joined by our awesome pod pals, Ben and Rob, from the Every Movie Ever podcast.

[00:02:39] Welcome, guys.

[00:02:41] Oh, my God.

[00:02:41] Hi.

[00:02:42] Sorry.

[00:02:42] Someone with ADHD trying to not talk during the World Open.

[00:02:46] You guys look like you're ready to jump out of your chairs.

[00:02:51] There was lots of nodding and pointing and thumbs up.

[00:02:54] We were miming, man.

[00:02:55] We were miming our way through that one.

[00:02:56] That was good.

[00:02:57] Thanks for having us, guys.

[00:02:59] Hello.

[00:03:00] We're so glad that you've joined us.

[00:03:03] Yes.

[00:03:03] Us too.

[00:03:04] We're going to put on smack on an unhinged warning for this episode because Rob and Ben are just our cup of tea.

[00:03:14] Definitely going to make it very unhinged.

[00:03:17] So buckle up.

[00:03:18] Apologies in advance.

[00:03:19] Yes.

[00:03:20] Or not.

[00:03:20] You're welcome.

[00:03:21] Or not.

[00:03:22] We'll try and stay on good behavior.

[00:03:24] We'll be on good behavior.

[00:03:24] You already know.

[00:03:25] Yeah.

[00:03:25] If you want to learn more about Rob and Ben, make sure to check them out later this week on our bonus episode as we rank some of our favorite Americanized horror and maybe not so horror remakes.

[00:03:37] Thanks, Rob.

[00:03:38] Look, there's just a small pool, you know?

[00:03:41] There's so many.

[00:03:42] It's unbelievable.

[00:03:44] There's so many.

[00:03:45] All right.

[00:03:46] Well, Jackie, bring us back to focus.

[00:03:48] Tell us about The Grudge.

[00:03:49] So The Grudge follows an American nurse, Karen, who is working in Tokyo and encounters a mysterious and deadly curse.

[00:03:57] This curse fills its victims with rage before consuming them and spreading to others.

[00:04:03] It stars Sarah Michelle Gellar, Jason Baer, Bill Pullman, Clea Duvall, Ryo Ishibashi.

[00:04:10] Nailed it.

[00:04:11] Thank you.

[00:04:13] Yoko Maki.

[00:04:14] Nailed it.

[00:04:16] Yuya Ozeki.

[00:04:18] No.

[00:04:19] That was fine.

[00:04:20] That was fine.

[00:04:21] I don't know.

[00:04:22] Rob.

[00:04:23] I struggle with other names that are not.

[00:04:27] You're doing fine.

[00:04:28] You're doing great, sweetie.

[00:04:30] You are smashing it.

[00:04:31] Smashing it.

[00:04:32] It was directed by Takashi Shimizu.

[00:04:36] Is that right?

[00:04:38] Smashed it.

[00:04:39] Nailed it.

[00:04:39] Okay, cool.

[00:04:39] And written by Steven Susco.

[00:04:43] And you can currently watch it on Peacock.

[00:04:45] But before we start, let's get into our ratings rewind.

[00:04:49] You know the drill.

[00:04:50] Before we get into the movie, we will reveal the rating our Y2K versions of ourselves would give.

[00:04:54] Then at the end, we'll see if our current selves agree with our initial rating.

[00:04:58] Our scale consists of would buy it, would buy it again.

[00:05:01] The best would play on repeat.

[00:05:04] Five-day rental.

[00:05:05] Would watch again.

[00:05:06] Two-day rental.

[00:05:07] Okay, but nothing to write home about.

[00:05:09] And same-day rental.

[00:05:11] Ah, ah, ah, ah.

[00:05:13] This is trash.

[00:05:14] Oh, what?

[00:05:17] That sound was like this.

[00:05:20] It's like, ah.

[00:05:22] You do that so well.

[00:05:24] Ah, you do it really well.

[00:05:26] We'll start with you, Rob.

[00:05:27] What is your Y2K rating?

[00:05:29] Thank you for asking.

[00:05:31] I didn't see this in Y2K.

[00:05:34] I'd seen the original.

[00:05:35] I was too busy, you know, shoving my glasses up my nose and going, Japan's media is actually excellent.

[00:05:40] I wouldn't dare.

[00:05:42] I wouldn't dare.

[00:05:43] I wouldn't dare sully my eyes with an American remake.

[00:05:47] Ben, what is your rating?

[00:05:49] So my Y2K self, we used to have a little family tradition.

[00:05:54] So on Friday nights, it would be my older sister, my two nephews and my niece would all go to Blockbuster.

[00:06:00] And we were allowed to pick out a film each.

[00:06:02] And then we'd spend the weekend watching those films.

[00:06:05] And each week, we'd try and get cheekier and cheekier with my sister, who was quite strict.

[00:06:10] So we'd be sort of like, you're straight to the horror section.

[00:06:11] Oh, can we get Ghost Ship?

[00:06:13] And she was like, hmm, maybe.

[00:06:15] Oh, can we get this?

[00:06:16] Can we get that?

[00:06:17] And we picked up The Grudge the one week.

[00:06:19] And she was like, I actually really want to see it.

[00:06:20] So yeah.

[00:06:21] So we all sat down as a family to watch it.

[00:06:23] And I lost my fucking mind about it.

[00:06:25] It was incredible.

[00:06:26] Like my brother had shown me species.

[00:06:28] That freaked me out.

[00:06:29] I was into like some sort of like weird.

[00:06:31] I was showing body horror and creature features way too young.

[00:06:33] Right.

[00:06:34] So this lost my mind over it.

[00:06:37] Lost my mind over it.

[00:06:38] It was incredible.

[00:06:38] This would be a would buy it, would buy again.

[00:06:42] Jackie?

[00:06:42] I watched this movie exactly once.

[00:06:45] It was in the theater.

[00:06:46] And I didn't sleep that night.

[00:06:48] And I stared at the corner of my ceiling.

[00:06:51] Yeah.

[00:06:52] So same day rental for me.

[00:06:55] Fair.

[00:06:56] And for me, never seed it.

[00:06:58] I know we're all shocked.

[00:07:00] Okay.

[00:07:01] Okay.

[00:07:03] I do feel that you were saying, you know, staring at the corner of your room.

[00:07:07] One of the great things that this film did for, I think all of us in the era was it opened

[00:07:13] up where the spooky thing could be.

[00:07:16] Yes.

[00:07:16] I hadn't previously considered spooky things being on the ceiling.

[00:07:20] Yes.

[00:07:20] Right.

[00:07:21] I'd been like, I'd be on the floor.

[00:07:22] They'd be around the corner.

[00:07:23] In the closet.

[00:07:24] The ceiling was the safe space.

[00:07:25] Yeah.

[00:07:25] The ceiling was my friend.

[00:07:27] Yeah.

[00:07:28] And up to the ceiling.

[00:07:28] I was like, I'll just climb up on the ceiling.

[00:07:30] Nothing bad has ever happened on the ceiling.

[00:07:33] And then suddenly.

[00:07:35] Ugh.

[00:07:37] Awful.

[00:07:38] And under your blankets.

[00:07:40] I'm like, why?

[00:07:41] Why?

[00:07:42] Yeah.

[00:07:43] See, when you're a kid, under the blanket's the safe space.

[00:07:46] That's where no demons can go.

[00:07:47] No ghosts can go there.

[00:07:48] It's like home base.

[00:07:50] Right?

[00:07:51] Yeah.

[00:07:52] Ruined it.

[00:07:53] Onryo's waiting for you, buddy.

[00:07:56] She's that.

[00:07:58] Danielle, what was the box office looking like for The Grudge?

[00:08:01] So the movie had a budget of $10 million.

[00:08:04] And it made $187.2 million.

[00:08:09] Jesus Christ.

[00:08:10] In just the first weekend alone, the film managed to gross $39.1 million.

[00:08:16] And it obviously surpassed its budget.

[00:08:20] Declined by the second weekend, however, by at least 43%.

[00:08:24] Earning $21.8 million.

[00:08:26] But despite this, it was still a massive hit.

[00:08:29] And it became the first horror film to top the Halloween box office since House on Haunted Hill in 99.

[00:08:35] There was a few things that happened.

[00:08:37] So that first weekend, someone made a call at the studio.

[00:08:41] Said, ring, ring, ring.

[00:08:43] Bitch, we're making a sequel.

[00:08:45] Right.

[00:08:45] Right.

[00:08:47] So the sequel, The Grudge 2, that came out in 2006, was greenlit on that Monday after the surprise success over the weekend with $39 million.

[00:08:57] Jesus.

[00:08:58] This is how these studios work.

[00:09:00] That's the equivalent of calling the set and just be like, no one go home.

[00:09:04] Right.

[00:09:04] Get back on the set.

[00:09:07] I know 90% of you bitches are dead, but get back on the set.

[00:09:12] You're ghosts now.

[00:09:13] We're doing it again.

[00:09:15] And until this film was beaten by Friday the 13th in 2009, which opened with a $40.1 million intake,

[00:09:23] this film had held the record for the highest gross in opening weekend for horror remake in history.

[00:09:30] So the film made $9.24 million from DVD sales in its first week.

[00:09:37] And it came in at number two after Ray.

[00:09:41] And, you know, because of The Ring and The Grudge's success,

[00:09:46] we saw an onslaught of just a bunch of Japanese horror remakes during this time.

[00:09:53] Oh, gotcha.

[00:09:54] Jackie, ready to hear what Lil' Raj had to say?

[00:09:57] Lil' Raj.

[00:09:58] I'm ready.

[00:09:59] Roger Ebert of the Chicago Sun-Times gave the film one star out of four, writing,

[00:10:05] I'm not sure how most of the scenes fit into the movie.

[00:10:10] I do, however, understand the underlying premise.

[00:10:14] There's a haunted house and everybody who enters it will have unspeakable things happen to them.

[00:10:19] He criticized the fragmented time structure and said he eventually lost all patience.

[00:10:25] And you know what, Lil' Raj?

[00:10:26] I feel you.

[00:10:27] I have no nostalgia for this movie because I never saw it.

[00:10:30] So re-watching it, I was like, what the fuck is happening?

[00:10:36] What I love about Lil' Raj's quote there, though, right, is he's such a well-respected film critic.

[00:10:42] And his opinion, you know, he's been so ahead of the curve in so many ways.

[00:10:46] And he really defined what the field of sort of film critique was for lots of people.

[00:10:52] But sometimes when you read one of his reviews, you're like,

[00:10:54] I don't think he's very good at watching films.

[00:10:58] Because he watches a movie that lots of people watched and enjoyed.

[00:11:02] It was like, yeah, great.

[00:11:03] And he's like, yeah, I didn't really understand it.

[00:11:07] And I'm like, you're Roger Ebert.

[00:11:09] Like, surely.

[00:11:12] Sometimes he surprises us.

[00:11:14] Like, honestly, he surprises us because some movies were like, this is shit.

[00:11:19] And he's like, actually.

[00:11:20] And we're like, what?

[00:11:21] And then sometimes he's just right on the money.

[00:11:23] He's just like us.

[00:11:25] Roger Ebert is just like everyday people.

[00:11:29] I just love the idea of Roger Ebert being there, being like, Pulp Fiction.

[00:11:32] Yeah, I didn't understand it, mate.

[00:11:34] That guy died 20 minutes ago.

[00:11:37] Fragmated timeline.

[00:11:38] Fuck off, mate.

[00:11:39] I'm done.

[00:11:40] Lost all patience.

[00:11:41] I don't disagree with Roger on this one.

[00:11:45] Because I was like, at certain points, I'm like, okay, so is this like three separate timelines that happened in the house?

[00:11:52] And they're just presenting to us without context?

[00:11:58] And then it's like, no.

[00:12:00] Like, I think they all live here at the same time.

[00:12:03] Like, it was very confusing.

[00:12:05] And there's a way to do like a Pulp Fiction or a Go.

[00:12:09] Yes.

[00:12:09] There's storylines that weave into one another.

[00:12:12] And so you kind of start back at the beginning in the second and third act.

[00:12:16] But this one was just, there was, because we weren't given any context.

[00:12:21] We're just like, okay, who are these people?

[00:12:23] And that's their mom.

[00:12:25] But they're moving in.

[00:12:26] Like, it was, it was.

[00:12:27] It's the sort of thing they could have, they could have done each chunk with perhaps like a different color grade or like certain parts of the timeline are in black and white.

[00:12:36] Yeah.

[00:12:36] Because you, it switches around enough that a title card would be, it would be annoying.

[00:12:42] Right.

[00:12:42] Because you'd see it every five minutes.

[00:12:43] But some sort of stylistic change in what, in how, what we were seeing was being presented would have been incredibly helpful.

[00:12:50] Like Memento.

[00:12:52] Like Memento.

[00:12:52] I was just thinking that.

[00:12:53] But, you know, I didn't get much from that film in the sense that I knew what the hell was going on.

[00:12:59] But they did go black and white.

[00:13:01] And I was like, this to pass, y'all.

[00:13:03] And we have Sam Raimi to thank for this movie because he helped Sony option the remake rights to the film because he was such a big fan of the original.

[00:13:12] He also produced this film through Ghost House Pictures, the banner of Ghost House Pictures, alongside Robert Taperd and Takashi Itachi.

[00:13:23] Sam Raimi also got his brother cast in this.

[00:13:27] Of course he did.

[00:13:28] I love nepotism in that family.

[00:13:30] Right.

[00:13:30] Ted Raimi has never had a role that his brother hasn't gotten for him.

[00:13:33] I mean, we talked about Nick Cage as a Nepo baby, but Ted Raimi, if it weren't for his brother, would be working in a Walgreens.

[00:13:41] The same.

[00:13:42] Well, the guy.

[00:13:44] Clint Howard.

[00:13:45] Gun.

[00:13:45] Well, Clint Howard.

[00:13:46] I feel like Clint Howard is on his own track, though.

[00:13:49] He doesn't need Ron.

[00:13:50] Yeah.

[00:13:51] But Sean.

[00:13:51] James Gunn's brother, yeah.

[00:13:52] Sean Gunn.

[00:13:53] Sean Gunn.

[00:13:53] But Sean got Gilmore Girls all by himself.

[00:13:57] There you go.

[00:13:58] I mean, that's a mixed win.

[00:14:00] Yeah.

[00:14:00] Gilmore Girls is one of those shows that I've seen because I wanted to see how it ended.

[00:14:07] And then it refused to end.

[00:14:08] And I was like, please wrap these narratives up.

[00:14:12] And they're like, no, now it's 20 years later.

[00:14:18] Before we get into cast and crew, let's hear a message from our pod pals.

[00:14:27] Hello, everyone.

[00:14:28] My name is Ben Groves.

[00:14:29] And my name is Rob McFarlane.

[00:14:31] And together we are the Every Movie Ever podcast.

[00:14:34] We've always found refuge in movies.

[00:14:36] We love them all.

[00:14:37] From sci-fi, horror.

[00:14:38] To Oscar winning drama.

[00:14:39] And so bad they're good B-movies.

[00:14:41] Each of us has had major mental struggles.

[00:14:43] I'm sober.

[00:14:44] I should be.

[00:14:44] Trauma.

[00:14:45] Mental breakdowns.

[00:14:46] And to make sure that we checked in with our best mate at least once a week,

[00:14:50] we started the Every Movie Ever podcast.

[00:14:51] Join us as we survey the worst movies in the world.

[00:14:54] And the cinematic gems that you may have missed.

[00:14:56] So, whether you're a fan of Batman or Billboards.

[00:14:59] Godzilla or God-level writing.

[00:15:01] We've got episodes done.

[00:15:02] And hundreds to come.

[00:15:03] Nick Frost says we can't do Every Movie Ever.

[00:15:05] But we'll show him some fried f***ing gold.

[00:15:08] Find us on Spotify.

[00:15:09] Or Apple Podcasts.

[00:15:10] Or anywhere else.

[00:15:11] Click the link in our bio to find us.

[00:15:13] Consume!

[00:15:19] So, our casting crew fun facts.

[00:15:23] Sarah Michelle Gellar was not the first choice to play Karen.

[00:15:26] Right.

[00:15:27] But after her success in Buffy, she was cast to bring star power to the film.

[00:15:31] I mean, we just did Simply Irresistible.

[00:15:34] And it was the same thing.

[00:15:35] They were just using my girl for her Buffy status.

[00:15:38] Yeah.

[00:15:39] Right.

[00:15:39] And I'm not mad at it.

[00:15:40] I'm actually surprised.

[00:15:42] You know, even though I don't like horror films.

[00:15:44] Mm.

[00:15:45] Or I'm just scared of them.

[00:15:46] I don't want to say I don't like them.

[00:15:47] I'm just scared.

[00:15:48] Yeah.

[00:15:49] It's an uncomfortable experience.

[00:15:50] Right.

[00:15:51] I didn't see this one because I love her so much.

[00:15:54] And because Jason bears in it.

[00:16:00] And you know, Roswell, anytime that I can bring up the defunct alien TV show from the late 90s, I will.

[00:16:09] And he was also in this movie.

[00:16:12] And I don't know how I didn't see it.

[00:16:15] Right.

[00:16:15] It seemed like catnip for you.

[00:16:16] You'd have been like, I'm going to just brace myself and go in.

[00:16:21] I can.

[00:16:21] I understand.

[00:16:22] Obviously, she was the biggest thing on the planet in the early 2000s.

[00:16:26] I don't know if she's a good choice, like artistically for this film in terms of I don't know how much she nails.

[00:16:35] She kind of gives confused more than she does.

[00:16:40] I don't know whether or not she just went, well, I'm an exchange student.

[00:16:43] So I'm just going to wander around looking confused and acting confused permanently.

[00:16:48] But that actually helped sell her for me, though, because I was like, yeah, because like move to Japan for a week and all you can do is wander around and be confused.

[00:16:58] Everything is upside down and different.

[00:17:00] Right.

[00:17:01] Right.

[00:17:01] Right.

[00:17:01] Right.

[00:17:02] I just don't feel I think one of the things that was hard is that we don't relate to her care.

[00:17:09] Like we don't.

[00:17:10] She's supposed to be kind of like our eyes, I guess.

[00:17:13] Right.

[00:17:13] But she's given no agency.

[00:17:15] She's given no character.

[00:17:16] Right.

[00:17:17] Just default lady.

[00:17:18] She keeps going back.

[00:17:19] Like, why?

[00:17:20] Right.

[00:17:20] Yeah.

[00:17:20] Right.

[00:17:21] Yeah.

[00:17:21] Yeah.

[00:17:22] I helped the old lady.

[00:17:23] I saw some shit.

[00:17:25] And I'm done.

[00:17:26] Right.

[00:17:27] Yeah.

[00:17:27] Right.

[00:17:28] It feels on the case.

[00:17:29] Like I'm done.

[00:17:30] It feels like a location that is incredibly easy for her to avoid.

[00:17:34] Yes.

[00:17:34] You know?

[00:17:35] Right.

[00:17:35] Like the ghost isn't in the house.

[00:17:37] The ghost isn't on her commute to work.

[00:17:39] The ghost isn't in her employee toilet at work.

[00:17:47] Yeah.

[00:18:12] In writing.

[00:18:13] Yeah.

[00:18:14] Yeah.

[00:18:14] She kills it.

[00:18:15] So I think that she did the best with what she was given.

[00:18:21] 100%.

[00:18:21] And that's what I'm going to say.

[00:18:22] The studio originally wanted Selma Blair to play the lead role.

[00:18:28] And as we know, they co-starred in Cruel Intentions together.

[00:18:31] But.

[00:18:31] Oh, okay.

[00:18:31] And I think the only reason they gave it to Sarah was because she had that edge of having

[00:18:35] more popularity than Selma at the time.

[00:18:38] Yeah.

[00:18:39] Right.

[00:18:39] It was a powerful drug.

[00:18:40] It got Joss Whedon a career.

[00:18:42] So like, come on.

[00:18:43] Yeah.

[00:18:43] It works magic.

[00:18:45] Right.

[00:18:46] That.

[00:18:46] That.

[00:18:46] Ah.

[00:18:47] That sounds.

[00:18:51] Joss motherfucking Whedon.

[00:18:53] Yes.

[00:18:53] It's about damn time.

[00:18:57] Had to add his name to the world.

[00:19:01] I do like, I mean, we've kind of talked about this already about the movie being set in Japan

[00:19:08] and out of all these Japanese remakes that it's the only one set still in Japan.

[00:19:13] Yeah.

[00:19:14] I do also like that the director, Takashi, I'm not going to say his last name because I'm butchering it.

[00:19:20] He directed the original version of this film and was asked to return, which I was shocked.

[00:19:26] And I wonder if that has a lot to do with Sam Raimi being a producer.

[00:19:30] Right.

[00:19:30] It feels like he would push for something like that because I feel like the studio would always try to figure out how to Americanize it.

[00:19:40] They'd have got an American director on board immediately if they could.

[00:19:42] Yeah.

[00:19:43] I think Sam Raimi was almost 100% behind like understanding what good horror is.

[00:19:48] The guy made Evil Dead.

[00:19:49] Like he's going to know there's the guy that's got the juice.

[00:19:52] Let's just get him.

[00:19:53] Right.

[00:19:54] I think this is going to be one of those ones that you can't take to America though because of the type of the ghost that it is.

[00:20:00] Because it's an onryo.

[00:20:02] So it's a specific Japanese entity.

[00:20:05] Like it's big in like Japanese folklore that it can manifest to be physical and like kill.

[00:20:12] And if you're to do that in America, you've essentially just got every American horror film ever.

[00:20:17] Like Zillius or you know what I mean?

[00:20:20] You've got all of that stuff there.

[00:20:21] It's already been done in America plenty of times.

[00:20:24] You have to keep it specific to this because to just throw an onryo like in America, you'd be like, okay, why?

[00:20:31] Right.

[00:20:31] Although I do.

[00:20:33] I also I do like the fact it's Takashi Shimizu.

[00:20:36] I like that it's a lot of the crew are the original crew.

[00:20:41] I do feel though, because I did a little looking into the grudge franchise.

[00:20:48] The original Juwan film is a remake of a short film which has the same plot.

[00:20:54] And the American version is a remake.

[00:20:57] And he very much has his one film.

[00:21:00] And he seems to just go about his life finding excuses and reasons to make that film again in the same house with the same scenes.

[00:21:11] Yeah.

[00:21:12] And it's a little bit like it's like obsessive.

[00:21:14] Like, oh, here's, you know, here's 30 mil.

[00:21:16] What do you want to make?

[00:21:17] And he's like the same film.

[00:21:19] I've got one idea.

[00:21:21] Right.

[00:21:22] Right.

[00:21:22] It's going to work.

[00:21:23] Right.

[00:21:24] Because I've done it four times already.

[00:21:26] And they're like, who do you want to cast on this?

[00:21:27] He's like, let me just get IMDB up.

[00:21:29] See who.

[00:21:30] Oh, yeah.

[00:21:30] Yeah.

[00:21:30] We got a cast.

[00:21:31] Because from last time, you know.

[00:21:34] What's Puffy doing?

[00:21:36] What do you think that like the fact that it was an American writer that like did this version?

[00:21:44] Do you think a lot of the context was missing?

[00:21:46] Because I feel like I would have really loved to understand the idea that this is a Japanese mythological writing.

[00:21:57] Right.

[00:21:57] Like that context is not given to us at all.

[00:22:01] No, I think there are clear hallmarks in this version of the film that are an American cultural experience.

[00:22:09] Right.

[00:22:09] There's a really weird one early on where the boyfriend wakes up late for his exam.

[00:22:16] And then she's like, oh, I've set the clock an hour early.

[00:22:19] So we've got time, you know.

[00:22:22] And then, you know, it then cuts to them walking to his exam really slowly with time to waste, which implies that his stamina is not great.

[00:22:34] Because he started out late.

[00:22:37] And then she's like, we've got one hour.

[00:22:40] And then they seem to take 55 minutes to walk to his exam, which he arrives for end time.

[00:22:46] And they stop at a graveyard along the way.

[00:22:50] Now, that's your chunk.

[00:22:52] That's your chunk of character building before we get into plot driven stuff.

[00:22:57] Right.

[00:22:57] So that's your one opportunity to tell me something about this character that's going to inform my relationship with her as she goes through the events of the film.

[00:23:06] Mm-hmm.

[00:23:07] And I don't know how any of that is in any way relevant to me liking or needing her.

[00:23:14] It's just, hey, she's good at planning sex.

[00:23:18] Right.

[00:23:18] She's really good at changing clocks, though.

[00:23:21] Right.

[00:23:22] Right.

[00:23:22] All we learn is that he is, it was really initially him who's coming over to be a student.

[00:23:30] And he says, like, I'm really glad that you decided to come with me.

[00:23:34] And the fact that she's a quote unquote nurse, I don't really learn or understand.

[00:23:40] Right.

[00:23:41] If I didn't do the notes, I wouldn't have known that's what her job is because I thought she was volunteering.

[00:23:46] Like, I wasn't.

[00:23:47] Yeah, same.

[00:23:48] They call her, they call the other girl who were predecessor a helper.

[00:23:53] So, like, I'm not understanding what she does because she, like, after she leaves him to go to her test, she walks into this building.

[00:24:00] There's other people there.

[00:24:01] It seems like there's a lot of American people there because they're all speaking English.

[00:24:05] And then we meet Ted Raimi, his character, and she's being sent on something like a mission.

[00:24:12] I don't know, to go by herself.

[00:24:14] And again, we don't learn anything about who she is, what she does.

[00:24:20] Like, she's just...

[00:24:20] It feels like they have to use the runtime to explain why we're following American characters in a Japanese setting.

[00:24:28] Yeah.

[00:24:29] Which is fine.

[00:24:30] But I think by virtue of it being an American writer, he's writing American characters and then having to spend runtime on contextualizing why they're there and why they're behaving this way.

[00:24:43] And that time spent doing that is time that should have been spent on making us identify with the character rather than give backstory that's not relevant.

[00:24:52] Just have her be American in Japan and cover it with a sentence and spend that time making me like her.

[00:24:59] Right.

[00:24:59] Well, because even when she goes to the lady's house, she spends more time cleaning than she does nursing.

[00:25:11] Right.

[00:25:13] It's hard though, isn't it?

[00:25:14] I mean, like in the original film, the pacing's a lot different because you're already in it.

[00:25:20] You already understand the rules, you know, the cultural context of what's happening around everyone.

[00:25:24] And everyone is sort of like bound to the rules that we're all expected to sort of be in agreement with as the audience.

[00:25:32] But when you're doing it in the same setting, but with a wildly different cultural cast, you kind of have to spend so much fucking time going, they have to be here because he's an accountant and he couldn't come here without his dimension ridden mom.

[00:25:47] So also now there's sisters.

[00:25:49] She's also an accountant, but in a different building.

[00:25:51] She's getting followed.

[00:25:52] That's a weird one.

[00:25:53] Security guard doesn't give a shit.

[00:25:55] Why?

[00:25:55] Shut up.

[00:25:56] Where's the fucking ghost?

[00:25:58] I don't give a fuck about their jobs.

[00:26:01] I don't care why.

[00:26:02] When we meet the family, so like the way they start the film is that we follow the original helper to the house and you just see this woman who just is so out of it.

[00:26:19] And you don't really know the context of what the hell's going on there.

[00:26:22] And you see the lady come in.

[00:26:24] She's not greeted by anyone else in the house and she just starts cleaning.

[00:26:28] So this is how like we're introduced.

[00:26:29] And then she gets sucked up.

[00:26:32] I don't fucking know what like I'm still confused as to how she is gone.

[00:26:37] So you start off with that.

[00:26:39] So then you're like, OK, what the hell?

[00:26:41] And then they they go back and they show the family coming to the house in the first place.

[00:26:46] And I'm not even sure at first who the wife is.

[00:26:51] No, I wasn't sure if if it was just a character.

[00:26:55] Right.

[00:26:56] Because they're all calling her mom.

[00:26:59] And I'm like, are they all like what the fuck's happening?

[00:27:02] What in the Alabama is going on?

[00:27:05] So I get confused.

[00:27:06] Then I get some context at some point that the sister's annoyed because the brother at some point is like, how is mom?

[00:27:13] Like, like almost like he doesn't trust her with the mom.

[00:27:18] So you and so like, oh, they're going to definitely talk about this again.

[00:27:21] No.

[00:27:22] And then, you know, mom has dementia.

[00:27:25] You just get in this house and she's fucking gone already.

[00:27:28] Y'all like.

[00:27:28] Right.

[00:27:29] Right.

[00:27:29] So I didn't I didn't twig that she had dementia until doing the notes.

[00:27:34] Right.

[00:27:34] I thought I thought because the few times we see her is post ghostening.

[00:27:39] Right.

[00:27:40] So I'm like, oh, she's she's riddled with ghosts.

[00:27:42] She's mad ghosted up.

[00:27:43] That's why she needs care because she's seen a ghost.

[00:27:46] So she's all ghosted up.

[00:27:47] Right.

[00:27:50] Japan's famous ghost care system.

[00:27:52] Right.

[00:27:54] She's seen a ghost.

[00:27:55] Oh, right.

[00:27:56] OK.

[00:27:56] And then when she comes into the viewing, which is another thing that there's a there's a

[00:28:02] part of the exposition flashback where you see the American family move into the house

[00:28:07] and he walks into a bathroom he has never walked into before and goes, we'll take it.

[00:28:13] And at that point, I'm like, fuck you.

[00:28:15] You deserve ghosts.

[00:28:17] You've not finished a house tour.

[00:28:19] You've seen two rooms and you're going, yeah, we'll buy this.

[00:28:22] Pow.

[00:28:23] Small change, bruv.

[00:28:24] Like, what?

[00:28:25] I mean, my mom is terrified by a cupboard.

[00:28:28] I've got a tiny glass cat.

[00:28:29] I'm fucking sold, mate.

[00:28:31] Sign me up immediately.

[00:28:33] Because he says, I'll take it after finding his mom who is right off.

[00:28:37] Yeah.

[00:28:38] Scarily looking at the ceiling like she's about to go into shock and you're like, this is

[00:28:43] the house.

[00:28:44] Find out through expository dialogue that they're fine with her staring because she has dementia.

[00:28:49] But I thought she was having a ghost moment.

[00:28:51] I was like, this is her getting ghosted up.

[00:28:54] But no, she's just like that.

[00:28:58] Well, that opens a whole floodgate of other questions.

[00:29:02] Is the reason the ghost can't kill her is because, like, she has dementia until her mind isn't all there?

[00:29:08] So she can't.

[00:29:09] No, I've got a theory as to why the ghost kills certain characters and then doesn't kill other people.

[00:29:15] I might save it for later because it's pretty all-encompassing.

[00:29:19] And it's going to change not only your interpretation of this film, but maybe your interpretation of cinema.

[00:29:25] I don't want to oversell it.

[00:29:27] I think you are just a bit.

[00:29:28] But I'm lying to her when alone.

[00:29:34] So we see all this stuff and then, like, I was just so confused about her looking at the ceiling, her looking scared.

[00:29:42] Him saying, yeah, I'm going to buy this house.

[00:29:44] Not seeing a fucking bathtub full of dirty water.

[00:29:47] And now I'm like, why is that happening?

[00:29:49] Right.

[00:29:49] And the poor realtor, I guess, doesn't know the house is haunted or...

[00:29:55] I think he's just selling it.

[00:29:56] I think he's like, I've got a house that's fucking riddled with ghosts.

[00:29:59] Here are some foreign people.

[00:30:01] Buy the house.

[00:30:01] I get my commission and fuck you by.

[00:30:04] So unethical.

[00:30:05] He puts his hand in that bathtub.

[00:30:07] And this scene, though, I didn't take too seriously because I felt like the hand grab was almost like a caress instead of, like, a grab.

[00:30:16] And I was like, what?

[00:30:17] Was he feeding the ghost?

[00:30:18] Why is that child caressing the realtor?

[00:30:20] Was he feeding the ghost?

[00:30:21] Like, was she like, thank you.

[00:30:23] Yeah.

[00:30:24] Yeah, maybe.

[00:30:26] Maybe.

[00:30:26] I took it as the little kid, little, what's his name?

[00:30:29] Oh, right.

[00:30:30] Yukio?

[00:30:31] No.

[00:30:32] Toshio?

[00:30:33] Toshio.

[00:30:34] Toshio.

[00:30:35] Oh, because I was so far away with Yukio.

[00:30:37] Yukio?

[00:30:38] No, you racist.

[00:30:39] No, you absolute racist.

[00:30:42] Yeah, but Toshio, I thought it was like a little help me type thing.

[00:30:45] Because in the flashback later on in the movie, you see him being drowned in the bathtub.

[00:30:48] So I thought the realtor putting his hand in, he would be sort of like, get me the fuck out of here.

[00:30:52] I'm also confused by that as well.

[00:30:55] Like, I don't understand this little boy.

[00:31:01] He'd be watching a lot from the rafters.

[00:31:05] He's kinky like that.

[00:31:06] He's into it.

[00:31:07] You know, he's just like, oh, someone's getting murdered.

[00:31:09] I'll just sit and watch.

[00:31:11] I'm watching Open My Mouth and Black, like, oh, Lord.

[00:31:15] But who kills him?

[00:31:16] Is it his dad?

[00:31:17] His dad?

[00:31:17] So the dad.

[00:31:18] Yeah.

[00:31:18] The dad finds out that his wife, Kayako, has fallen in love with Peter, the American professor.

[00:31:28] Accountant, teacher.

[00:31:29] Whatever the fuck his job is.

[00:31:30] Yeah, I was like, is he a doctor?

[00:31:32] He's an accountant.

[00:31:33] He's generic.

[00:31:34] I was like, are we in another movie?

[00:31:37] When did Bill Pullman get here?

[00:31:40] What is happening?

[00:31:41] And for the first half of the movie, I was convinced that Bill Pullman had killed himself because he'd hands up a student.

[00:31:47] I was like, oh, she's going to be his student.

[00:31:49] I thought that too.

[00:31:50] He's going to have hands her up.

[00:31:51] And then she's going to have killed herself because she all got all hands up by Bill Pullman.

[00:31:56] And no one could live with that.

[00:31:58] Right.

[00:31:58] And so he's then killed himself with guilt.

[00:32:00] But no, what happened was the father finds out that his wife is in love with this American professor and does a murder suicide.

[00:32:07] Chris Benoit's the whole family.

[00:32:09] And then they the violence of that creates this this curse on the house, which kills anyone that comes near.

[00:32:16] And I did like I like the idea that it's not necessarily the spirits of the people.

[00:32:23] It's the it's like the echo of the evil thing that was done.

[00:32:27] Right.

[00:32:28] That's that's causing all this.

[00:32:29] I'm never one for like, OK, so what?

[00:32:31] She gets her neck snapped and she thinks the best thing she can do is hang about.

[00:32:35] No, I like the idea that it's something kind of separate from her.

[00:32:38] It's a it's a reflection of her that's twisted and evil.

[00:32:41] Oh, I just just seeing the little boy, I thought I would be more scared when he does show up or whatever.

[00:32:50] But I was it was creepy, but not like I was like, OK, I think I was more scared of like the black fog of it when I was I did watch it late last night and I was like, not smart.

[00:33:04] Damn, you're not taking this movie seriously.

[00:33:09] I do take spirits and black shit at the corner of my ceiling.

[00:33:14] Very serious.

[00:33:16] Yeah, I had to move when I lived in Japan.

[00:33:18] I had to move.

[00:33:19] I got a new apartment.

[00:33:20] It was like right across the town I was living in.

[00:33:23] I didn't look at it.

[00:33:24] It was one of my friends was like, I've got a spare one.

[00:33:26] Just rent it off.

[00:33:26] OK, you didn't check that the bath was full of dirty water with a child in it.

[00:33:30] Well, I will take it.

[00:33:31] I booted in a booted in my mate's toilet door and I was like, I'll take it without any anything.

[00:33:37] Anyway, the bedroom was a mirror image of the bedroom in this film.

[00:33:41] And like there was a cupboard that led to the attic.

[00:33:44] And I got there on night one after work.

[00:33:47] I got in, set up all the bed.

[00:33:49] I was like, oh, God, this is great.

[00:33:50] Went to put my bag in the in the fucking wardrobe.

[00:33:52] Opened it.

[00:33:53] Loft thing there.

[00:33:54] I was like, nah, I'm just going to go back to my mates because no fucking way.

[00:34:00] No way.

[00:34:00] Packed up all my shit immediately.

[00:34:02] Rode my bike with like four backpacks all the way across town.

[00:34:06] I got there at like four in the morning.

[00:34:07] Fucking hated it.

[00:34:08] I did.

[00:34:08] I did read that the cat that regularly appears because I was like, what's with the cat?

[00:34:14] Like, is it going to start talking?

[00:34:16] Are we in a Salem situation?

[00:34:18] Turns out.

[00:34:20] Or Salem moon.

[00:34:21] Yeah.

[00:34:21] No.

[00:34:21] So apparently the ghosts of dead children are said to sort of wander like stray cats.

[00:34:27] Oh.

[00:34:27] And so it's a black cat is actually seen as a lucky thing because it's like a departed child,

[00:34:33] which is morbid.

[00:34:35] Yeah.

[00:34:35] Yeah.

[00:34:35] Yeah.

[00:34:36] Yeah.

[00:34:36] My looks about to change.

[00:34:38] They paired the cat with this child.

[00:34:41] And in real life, the actor playing the little boy was terrified of cats.

[00:34:48] No way.

[00:34:49] Jesus Christ.

[00:34:51] Wait.

[00:34:52] So that's two then because I know for a fact as well that Sarah Michelle Gell-Ow found she

[00:34:58] was allergic to Japanese water.

[00:35:00] Yes.

[00:35:00] So the scene where she has to shower and the hand comes out of her Sarah Michelle Gell hair

[00:35:08] is she had bin bags sellotaped to her body for the allergic reaction.

[00:35:13] So this director is just like, are you allergic or phobic of anything?

[00:35:17] Because I will put you in a scene with it.

[00:35:18] Yes.

[00:35:20] I mean, imagine being a Japanese kid, knowing that cats are dead Japanese kids.

[00:35:25] I'd be scared of them too.

[00:35:26] Yeah.

[00:35:27] You know what I mean?

[00:35:28] Yeah.

[00:35:28] Hold your fallen comrade.

[00:35:31] Fuck.

[00:35:33] So Tasha's spirit is often heard meowing throughout the film to not only imply that his spirit has

[00:35:40] merged with this deceased cat, but it also relates to like an old Japanese legend, like

[00:35:46] you said, about the lost children.

[00:35:48] So I thought I did not know that if I didn't do the notes, it wouldn't have made sense.

[00:35:52] So like after we kind of introduced to the family, we go back to Sarah Michelle Gellar's

[00:35:58] character and she comes over because the girl who was her predecessor didn't show up to work.

[00:36:07] And nobody seems concerned about that.

[00:36:10] Like her boss doesn't seem concerned.

[00:36:11] Like she has not shown up for work.

[00:36:13] She's just gone.

[00:36:14] Ted doesn't give a shit.

[00:36:15] No, she's menial labor.

[00:36:17] She's the help, you know.

[00:36:18] She might be ill.

[00:36:19] She might be ill.

[00:36:20] I don't fucking know.

[00:36:21] It's Yoko.

[00:36:22] Who cares?

[00:36:22] How much does she earn?

[00:36:23] Yeah, that's fine.

[00:36:25] That's real messed up.

[00:36:25] She's probably just lost.

[00:36:27] It's fucked.

[00:36:28] It's awful.

[00:36:29] The house who plays the mother does such a good job.

[00:36:32] Like I believe that she's fully despondent and yeah, but the house looks a mess.

[00:36:38] So the other thing is that not only are these people being like terrorized and killed, the

[00:36:44] menace spirit is fucking up the house.

[00:36:46] Like, yeah, it's rude.

[00:36:48] It's a rude ghost.

[00:36:49] That's what I mean.

[00:36:50] Are you done with your ramen?

[00:36:52] Good.

[00:36:54] I thought it was just the mom with dementia, just not knowing.

[00:36:59] So she was just sprinkling things about because sometimes she is shuffling around.

[00:37:05] I think some of like you see the post-it notes and stuff like you see that stuff, which

[00:37:10] I feel is like the communication because one of the things that we saw when what's her

[00:37:17] is it Yoko is her name?

[00:37:19] Yoko is the missing care worker.

[00:37:21] Yeah, when she comes in, there's a note on the table that she was that so-and-so was

[00:37:26] going out and would be back or something.

[00:37:29] And then we learn later that she's dead.

[00:37:31] So like, is the spirit writing that?

[00:37:33] Like, I didn't know.

[00:37:35] And then with the ramen thing, you see that the spirit is the one that like turns that

[00:37:40] over because you see the little footprints later.

[00:37:42] So it's almost like you think as the, like, watcher that it's the mom.

[00:37:52] Like, it's like the dementia.

[00:37:54] But because we see that scene where he, they, the spirit knocks over the ramen, I now start

[00:38:00] to believe that the spirit is doing fucked up shit in the house, making it a mess.

[00:38:04] Because I haven't seen that woman get up by herself yet.

[00:38:07] Yeah.

[00:38:08] She is famously lazy.

[00:38:10] Quite a lazy, quite a lazy dementia patient.

[00:38:13] You know what I mean?

[00:38:15] I mean, you can't remember stuff.

[00:38:17] You can sweep.

[00:38:18] You don't need memories of sweeping.

[00:38:20] All right.

[00:38:22] Karen's kind of walking through the house and she notices that a closet is boarded up,

[00:38:29] taped up.

[00:38:30] And then she hears a noise.

[00:38:32] So she's like, yeah.

[00:38:33] Maybe the manager's in there.

[00:38:36] Yeah.

[00:38:36] Do you know what I mean?

[00:38:37] Maybe the dementia payment has put the carer in the cupboard.

[00:38:40] Exactly.

[00:38:41] No, fuck it.

[00:38:42] So she pulls everything down.

[00:38:44] And then that's when she sees the little boy, but he's not ghosty.

[00:38:49] No.

[00:38:49] He looks normal.

[00:38:50] He looks normal.

[00:38:51] Yeah.

[00:38:51] So I think you've got the ghosty face.

[00:38:55] And I think they have two seasons.

[00:38:58] They have like normal faces when they're just jobbing about the house.

[00:39:02] And like she bumps into him in the closet and she's like, oh, he's like, oh, sorry.

[00:39:06] I wasn't expecting you to do that.

[00:39:08] I'm just I'm in my civilian clothes.

[00:39:09] But then when they're up to some ghost shit, right, they put the ghost paint on and they're

[00:39:13] like, right, ghost time.

[00:39:15] Yeah.

[00:39:15] Because when there's the scene in the blankets where it looks like she's about

[00:39:19] to go down on her and she's under the blanket.

[00:39:21] She's like, yeah, she's got her ghost face on.

[00:39:23] Right.

[00:39:23] She's like, oh, ghost shit.

[00:39:25] We're going to do some ghost shit.

[00:39:26] Put the ghost paint on.

[00:39:27] And I kind of view it as like them being on or off shift.

[00:39:31] You know, she bumps into him in the closet and he's like, I'm no, this is just smoking

[00:39:36] a cigarette.

[00:39:36] Like I'm on my break.

[00:39:38] I'm chilling with my cat.

[00:39:40] This isn't ghost shit right now.

[00:39:42] I put tape on the door for a fucking reason.

[00:39:45] Right.

[00:39:45] Leave me alone.

[00:39:47] I thought the ghost was only going after women that had darker hair at first.

[00:39:54] That was like my, just because like the fact that Karen just survives, the mom is surviving,

[00:40:00] like it doesn't get attacked.

[00:40:01] But the wife played by Clea Duvall does.

[00:40:06] And she has darker hair.

[00:40:07] And like, I felt like, no, I thought it was just the spirit of the husband.

[00:40:13] I went down.

[00:40:13] I think it's got more to do with like the amount of time you spend in the house.

[00:40:17] I think there's like a hierarchy.

[00:40:18] There's like a checklist.

[00:40:19] Right.

[00:40:19] And like she's working her way through the checklist.

[00:40:21] So dementia mom been there for a while.

[00:40:23] Get fuck out of my house.

[00:40:24] Top of the list.

[00:40:25] Right.

[00:40:26] Sarah Michelle Gellar.

[00:40:27] She's in there.

[00:40:27] She makes a quick phone call.

[00:40:29] Yes.

[00:40:29] There's a boy in here.

[00:40:30] Yes.

[00:40:31] I'm sure he's Japanese.

[00:40:32] Best line of dialogue in the film, by the way.

[00:40:35] I'm desperate to hear what the, that, that I'm desperate to hear what that answer is.

[00:40:39] I want to hear the question, you know?

[00:40:41] Yeah.

[00:40:42] But was it a Japanese boy?

[00:40:43] Is he definitely Japanese?

[00:40:44] Yeah.

[00:40:45] It's definitely Japanese.

[00:40:46] All right.

[00:40:46] That makes it weird.

[00:40:47] How could you tell?

[00:40:48] That is weird.

[00:40:50] It's an odd line of dialogue to have in there.

[00:40:52] It's my favorite one.

[00:40:53] But then I think she sort of like minces in and out of the house every now and then.

[00:40:56] She's clocking up sort of like seven or eight minutes.

[00:40:58] You know what I mean?

[00:40:59] So Peter's in there a little while.

[00:41:01] He's going to get like battered.

[00:41:03] And Yoko's in there for a while.

[00:41:04] She's going to get her jaw pulled off.

[00:41:05] Of course.

[00:41:07] You see, your theory holds that, you know, people have been there for a long time.

[00:41:10] She doesn't give many people an opportunity to be there for a long time.

[00:41:13] So when the, like, so she comes, she sees the little boy.

[00:41:17] Then she goes in with the mom in the room.

[00:41:20] And then this is when she sees.

[00:41:22] Because at first I thought the mom was the only one who would see it.

[00:41:25] Right?

[00:41:25] Like, and then she sees it and she just pulls herself to a fucking corner.

[00:41:29] I don't know.

[00:41:31] Yeah.

[00:41:31] And then Popo comes.

[00:41:34] Yeah.

[00:41:34] She's like all the straw.

[00:41:36] Yeah.

[00:41:36] Grandma did.

[00:41:38] Yep.

[00:41:38] And we don't see how she gets out of that situation.

[00:41:42] No, we don't.

[00:41:43] She just is okay somehow.

[00:41:46] And they take her to the hospital.

[00:41:49] And they have her in kind of like the psych ward, I'm guessing.

[00:41:54] To just like see what the hell's going on.

[00:41:56] Yeah.

[00:41:57] And from this point on in the movie, I don't know.

[00:42:01] I don't know what's going on.

[00:42:04] I don't know if I mentally like checked out.

[00:42:08] Or shit just does not make sense at all.

[00:42:11] After this point.

[00:42:12] Because I think.

[00:42:14] Timeline swap a lot.

[00:42:15] Yeah.

[00:42:16] After that.

[00:42:17] We do a lot of like.

[00:42:18] Three or four different times.

[00:42:19] It's like unlocking memories.

[00:42:21] It's sort of like.

[00:42:21] It's like when she hits certain points in a video game.

[00:42:24] You get like a cut scene.

[00:42:25] And that's what they're doing in the movie.

[00:42:27] You know what I mean?

[00:42:28] It's odd.

[00:42:29] It's an odd choice.

[00:42:30] But it's exactly what happens in the original.

[00:42:32] And I think this is where this director needs to be sat down and be like.

[00:42:36] Buddy, you can write a second good film.

[00:42:39] But it works in the original.

[00:42:40] Because you've had time to build up everything around it.

[00:42:43] Because you don't have to justify Sarah Michelle Gellar.

[00:42:45] Being sort of like.

[00:42:46] Oh, look at this funeral.

[00:42:48] They must have lost someone they've loved.

[00:42:49] Like it's a fucking romantic thing.

[00:42:51] It's like.

[00:42:51] It's just a funeral.

[00:42:52] Just let them be.

[00:42:54] They must have lost someone they loved.

[00:42:56] That's called a funeral.

[00:42:58] It's just a funeral.

[00:42:59] It doesn't have to be a Buddhist right.

[00:43:00] It's just a funeral.

[00:43:02] If you don't love them.

[00:43:03] Why would you turn up?

[00:43:06] Shut up.

[00:43:06] I fucking hated this.

[00:43:08] It's so funny.

[00:43:09] The detective shows up and starts investigating because.

[00:43:14] Kyoko.

[00:43:15] Is that her name?

[00:43:16] The.

[00:43:17] Which one?

[00:43:19] The one.

[00:43:19] The nurse.

[00:43:21] The nurse.

[00:43:22] Yoko.

[00:43:23] Yoko.

[00:43:23] Sorry.

[00:43:24] Yeah.

[00:43:24] Because Yoko has been gone for a significant period of time now.

[00:43:29] Now she matters.

[00:43:29] Yes.

[00:43:30] And because Karen comes out of her comatose state.

[00:43:34] It is like.

[00:43:35] Shit's fucked.

[00:43:40] But I'm going to go back.

[00:43:42] Yeah.

[00:43:42] Yeah.

[00:43:43] That was horrific.

[00:43:44] Let me just go right back there.

[00:43:46] Yeah.

[00:43:46] I need to solve the mystery of the weird boy that no one else knows about.

[00:43:50] Right.

[00:43:50] Time for a second date with my ghost friend.

[00:43:53] Yeah.

[00:43:54] So he is the one that starts to kind of reveal that the house has a dark history.

[00:44:00] And even his colleagues have died under mysterious circumstances while investigating it.

[00:44:07] Like.

[00:44:07] Yeah.

[00:44:08] Condemn the house.

[00:44:10] Right.

[00:44:11] Get it gone.

[00:44:11] Burn it down.

[00:44:13] And also.

[00:44:14] Turn it down.

[00:44:14] Maybe don't witness tamper.

[00:44:16] Like if you're a detective dealing with a case.

[00:44:19] And you're.

[00:44:20] You may be.

[00:44:21] Okay.

[00:44:21] Maybe there's some ghost stuff over here that you're suspicious of.

[00:44:24] But 80% as a professional of your.

[00:44:27] Of your mind must be on.

[00:44:33] Um.

[00:44:58] Wife's name is this.

[00:45:00] There we go.

[00:45:01] So then we.

[00:45:03] We get the flashbacks that we have been yearning for.

[00:45:07] Yeah.

[00:45:08] Yearning for.

[00:45:09] The one thing that was missing.

[00:45:11] Yeah.

[00:45:12] Like what.

[00:45:12] What happened.

[00:45:13] Why.

[00:45:15] Mm-hmm.

[00:45:16] So like we said before.

[00:45:18] Kyoko.

[00:45:19] The mother was obsessed with Peter.

[00:45:22] Bill Pullman.

[00:45:23] Yeah.

[00:45:23] She had journals.

[00:45:25] I love those journals.

[00:45:27] It was like.

[00:45:28] Oh yeah.

[00:45:28] Yeah.

[00:45:28] It looked like my high school journals.

[00:45:31] Like.

[00:45:31] Right.

[00:45:31] I had a great day at school.

[00:45:33] Me and Peter go on and on together.

[00:45:35] Like.

[00:45:36] He looked at me a little bit today.

[00:45:39] And I knew we were meant for each other.

[00:45:41] Like.

[00:45:42] Is what these fucking journals are like.

[00:45:46] From a grown woman.

[00:45:48] And.

[00:45:49] Unfortunately her husband finds the journals.

[00:45:51] And he is not.

[00:45:53] He's a little bit.

[00:45:55] He's a little cheesed off.

[00:45:57] You know.

[00:45:57] Yeah.

[00:45:57] He puts him a little bit on edge.

[00:45:59] Yeah.

[00:45:59] Probably because she is not the first time.

[00:46:02] Like.

[00:46:02] I understand being mad at her.

[00:46:04] And divorcing her.

[00:46:05] But what he does instead is wild.

[00:46:07] Wild.

[00:46:08] Wild stuff.

[00:46:09] But.

[00:46:10] Yeah.

[00:46:11] Yeah.

[00:46:11] Yeah.

[00:46:11] He takes a little far.

[00:46:13] Murdering the whole family.

[00:46:14] I can't.

[00:46:14] You know.

[00:46:15] Right.

[00:46:15] I can't justify that.

[00:46:16] It's too far.

[00:46:17] Yeah.

[00:46:17] Like.

[00:46:18] In my past I've been insecure.

[00:46:19] Right.

[00:46:20] And I'm willing to admit it.

[00:46:21] I've been a bit insecure in my past.

[00:46:22] And that's fine.

[00:46:23] I've never murdered suicide in an entire family.

[00:46:25] Been that insecure.

[00:46:26] You know what I mean?

[00:46:27] So I feel like.

[00:46:28] In the grand scheme of things.

[00:46:29] I'm doing alright.

[00:46:30] There is one moment in this film.

[00:46:31] That I have to applaud.

[00:46:33] Because.

[00:46:34] It just.

[00:46:36] You could have drowned a toddler in my underwear.

[00:46:38] When I saw.

[00:46:39] For old internet explorer.

[00:46:41] Jesus Christ.

[00:46:43] Old internet explorer.

[00:46:45] Got me so excited.

[00:46:47] Because.

[00:46:48] There's a scene where she uses the computer.

[00:46:50] And normally when they use a computer.

[00:46:51] It's just like.

[00:46:52] It's a made up interface.

[00:46:53] No.

[00:46:54] They used Microsoft apps.

[00:46:57] Yeah.

[00:46:57] And I hadn't seen it since I was 15.

[00:46:59] And I was like.

[00:47:01] I just want to sit down.

[00:47:02] I want to load MSN messenger.

[00:47:04] I want to find.

[00:47:05] Yes.

[00:47:06] Unvitaled 4.wma.

[00:47:08] Which is actually like.

[00:47:09] In the end.

[00:47:09] By Linkin Park.

[00:47:10] I was just about to say.

[00:47:11] So this popped a tent in your underwear.

[00:47:14] After watching it.

[00:47:15] I was like.

[00:47:16] Just that one scene.

[00:47:17] Mm-hmm.

[00:47:18] Frigged such a nostalgia bomb.

[00:47:20] For like.

[00:47:21] Winamp Media Player.

[00:47:23] MSN.

[00:47:24] Scrolling MySpace.

[00:47:25] Getting annoyed.

[00:47:26] Because I'm trying to listen to Linkin Park.

[00:47:28] And someone's put.

[00:47:29] Blink 182.

[00:47:30] In one of the comments.

[00:47:31] And now I have to scroll.

[00:47:32] To pause the music real quick.

[00:47:34] Wait.

[00:47:34] Blink 182.

[00:47:36] Is that how you say it?

[00:47:37] Yeah.

[00:47:38] Oh.

[00:47:38] Blink 182.

[00:47:39] We say 182.

[00:47:40] Yeah.

[00:47:40] No.

[00:47:40] I just.

[00:47:41] I thought.

[00:47:41] I was like.

[00:47:42] That's adorable.

[00:47:43] I haven't heard that one before.

[00:47:45] Wait.

[00:47:45] How do you guys say it?

[00:47:47] 182.

[00:47:48] Oh.

[00:47:48] 182.

[00:47:49] Okay.

[00:47:49] Yeah.

[00:47:49] We'll 182 it.

[00:47:51] 182.

[00:47:52] Yeah.

[00:47:52] Blink 182.

[00:47:53] So Peter also finds the journals.

[00:47:56] Hmm.

[00:47:57] And sees that he was the catalyst for the murder suicide.

[00:48:02] And so he can't handle the guilt.

[00:48:05] And that's what makes him commit suicide.

[00:48:08] Stupid.

[00:48:09] I thought someone pushed his head into the water.

[00:48:13] Did I miss that?

[00:48:14] Did they?

[00:48:16] Again.

[00:48:17] This film is a confusing kaleidoscope of scares.

[00:48:19] I thought someone drowned him.

[00:48:22] Bill Pullman.

[00:48:22] He jumps off the balcony at the beginning.

[00:48:26] It's the guy that goes over the balcony.

[00:48:27] I'm so confused.

[00:48:29] Who was in the water?

[00:48:31] Who got their head pushed into the water?

[00:48:33] The detective.

[00:48:34] The detective.

[00:48:35] Thank you.

[00:48:37] But Bill Pullman has an unidentified stalker who sends him lots of notes in his locker.

[00:48:44] He then goes to the return address on one.

[00:48:47] Walks in.

[00:48:49] Sees some corpses.

[00:48:52] And then has a bit of a ghosty time.

[00:48:55] And then goes home and kills himself.

[00:48:58] That's his art.

[00:48:59] When he saw the little boy that was not really dead.

[00:49:02] Yeah.

[00:49:02] Okay.

[00:49:02] Yeah.

[00:49:03] But they let him leave the house which I was surprised.

[00:49:05] Like why is he alive?

[00:49:06] Right.

[00:49:06] Why does he get to not die from the spirit that he caused essentially.

[00:49:11] Which is crazy.

[00:49:12] And as this is happening as you see him going back to look at the notebooks and stuff you

[00:49:18] see Karen watching it in the house like as if it's happening linearly.

[00:49:25] The house is just showing her a little vignette of what had happened in the past.

[00:49:31] It's like a highlight reel.

[00:49:33] There's a side note of the sister from the second family who is being stalked by the ghost

[00:49:41] entity or spirit at her job.

[00:49:44] Yeah.

[00:49:44] And like runs away from that and goes to her apartment.

[00:49:49] Like some of the things she does really irritates my soul.

[00:49:53] Yeah.

[00:49:53] Okay.

[00:49:53] She is played by actress Katie Strickland who I love from private practice.

[00:49:58] And funny enough her and Jason Bear met on this film.

[00:50:01] They were not in any scenes together but they met and they are now to this day still married

[00:50:05] and I love to see her.

[00:50:07] Oh that's really cute.

[00:50:08] But her character does dumb ass shit to me personally.

[00:50:12] I hated it.

[00:50:13] I hated it.

[00:50:13] Why would you drop the phone bitch?

[00:50:15] Why?

[00:50:16] Oh my god.

[00:50:17] Why?

[00:50:18] I've never wanted anyone to die so much in my entire life.

[00:50:20] I was like you deserve it.

[00:50:21] Deserve it.

[00:50:22] Just fucking sit down and put up the white flag because it's over.

[00:50:25] Stop running into dark alleyways and closed off.

[00:50:28] Dude stop.

[00:50:29] And I guess you can assume she's been in the house a lot because to see their mom.

[00:50:34] But like I never understand why the spirit leaves the house because I think it's the only

[00:50:41] time we see the spirit leave the house to go and get someone.

[00:50:45] So I kind of got it like it's like a spiritually transmitted disease.

[00:50:49] Right?

[00:50:49] So like not everyone gets it.

[00:50:52] Yeah.

[00:50:52] Yeah.

[00:50:52] But like it's just the house is patient zero and you'll go there and maybe you'll end up

[00:50:58] with a cough.

[00:50:58] Maybe you won't.

[00:50:59] Like it's because there's so many like paramedic support staff.

[00:51:04] Right.

[00:51:04] They all go have spinoffs.

[00:51:06] Right.

[00:51:06] Are they all just like trying to do their laundry and then there's like a little ghost boy with

[00:51:09] a cat being like ah.

[00:51:12] Like it's really random who does or doesn't get.

[00:51:15] Right.

[00:51:15] Ghosted up.

[00:51:16] Does she die?

[00:51:17] Does she get killed?

[00:51:18] We don't see.

[00:51:19] She might just have poor quality oral sex.

[00:51:22] We don't know.

[00:51:23] And this is why I felt like I was watching like five different movies.

[00:51:26] She gets sucked into the bed.

[00:51:29] Is that right?

[00:51:30] Like in Friday night.

[00:51:31] Oh of course she does.

[00:51:33] Oh yeah.

[00:51:33] Yeah.

[00:51:34] Yeah.

[00:51:34] She does.

[00:51:35] Like she just.

[00:51:36] Yeah.

[00:51:37] I remember being under the blankets but not the in the bed bit.

[00:51:40] Oh okay.

[00:51:41] I like how this is under the blankets.

[00:51:44] Under the blankets.

[00:51:45] Yeah.

[00:51:45] Under the blankets.

[00:51:47] And then Karen goes to Bill Pultman.

[00:51:51] I don't know what his real name in this movie is but his wife's fiance.

[00:51:54] I don't know who she is.

[00:51:55] To find out more information and then you see then I don't know if like I blacked out

[00:51:59] but I know she's I see her running back to the house.

[00:52:02] But somehow her boyfriend played by Jason Bear also don't know what his character's name

[00:52:06] is but if you've been on this show or listen to the show you already know what's up like

[00:52:10] don't don't at me.

[00:52:13] He's at the house with gasoline.

[00:52:16] Did they have a conversation where he's like I'm gonna end this shit because my girlfriend's

[00:52:19] going crazy?

[00:52:19] The detective had brought the gasoline.

[00:52:21] The detective was gonna burn the house down but then he got drowned by the little boy in

[00:52:25] the bathtub.

[00:52:26] Yeah.

[00:52:26] Why the fuck are you fucking around going into the bathroom?

[00:52:29] Burn this motherfucker.

[00:52:30] You know ghosts are here.

[00:52:31] He was real stupid.

[00:52:33] Yeah man.

[00:52:33] He got distracted.

[00:52:34] He was like is that a cat?

[00:52:35] Look cats are pervasive creatures.

[00:52:37] And if you hear one meowing because they're so choosy with who they love you'll hear a

[00:52:44] meow and you'll be like maybe maybe they love me.

[00:52:47] I'm sorry the cat had to go too.

[00:52:49] Every fucking thing in this house had to go.

[00:52:52] I'm sorry.

[00:52:53] I love a little kitty cat but I don't know if that shit's real.

[00:52:57] Everything in this house I have to assume is not fucking real.

[00:53:01] Burn it to the ground.

[00:53:01] So he dies.

[00:53:03] Now what's his face?

[00:53:04] I don't know why her boyfriend is at this house looking for.

[00:53:07] Is he looking for her there?

[00:53:08] Yeah because she's gone.

[00:53:10] She's done her investigative work.

[00:53:13] She's gone to go see the ex-wife.

[00:53:15] The professor who's having like a movie breakdown because she's in like her evening wear.

[00:53:20] Dude like a cocktail dress.

[00:53:22] I'm like oh mate.

[00:53:23] She's got like her breakdown gown on.

[00:53:25] Well no because it's to indicate that she's like she's playing loose now.

[00:53:29] Because she's like dressed up for the evening at two in the afternoon because you know.

[00:53:33] It's been like a fucking week.

[00:53:35] You know what I mean?

[00:53:36] Yeah.

[00:53:36] That dude was your husband man.

[00:53:38] What are you assuming?

[00:53:38] He's killed himself.

[00:53:40] Fuck it.

[00:53:40] Where's my lippy?

[00:53:41] I'm going to get told.

[00:53:42] He killed himself a week ago?

[00:53:45] Like how long has his family been in the house?

[00:53:48] Like 40 minutes.

[00:53:53] So she finds out all this shit from the lady.

[00:53:56] She finds out all this shit and then she has the sad bus ride with the boyfriend who

[00:54:01] does the classic movie boyfriend thing of just saying the worst possible thing that

[00:54:06] a human being could say to another human being while the girlfriend's just there being

[00:54:10] like you're so caring.

[00:54:12] You know he's like oh it's just a ghost.

[00:54:14] Get over it.

[00:54:14] Why won't you talk to me?

[00:54:15] Why won't you let me in?

[00:54:17] Fucking because you're acting like this dude.

[00:54:19] Yeah.

[00:54:20] But being a douche.

[00:54:21] And then he's like well I'll just I don't know where you were.

[00:54:24] She comes home and he's angry at her for not being home.

[00:54:29] He clearly needed his dinner.

[00:54:31] He's like well you didn't tell me where you were so I looked in your notes and there's

[00:54:34] this house and I'm going to go there.

[00:54:36] And then she has to chase.

[00:54:37] She has to chase him because clearly all of her notes on this house don't include the

[00:54:41] fact that it's a fucking ghost house.

[00:54:45] That's actively killing people.

[00:54:47] Right.

[00:54:47] Why would he?

[00:54:48] I would just wait for her to go home.

[00:54:50] Why am I looking at this house?

[00:54:52] Like does not make fuck you.

[00:54:54] What I don't get is when she finally does get to the house obviously the ghost is in

[00:54:59] full form or spirit.

[00:55:00] And he is like slowly dying on the floor.

[00:55:03] And she does nothing.

[00:55:06] She just tries to drag him out.

[00:55:07] She's just like dog.

[00:55:08] She watches the life drain from his body.

[00:55:13] And then she tries to go.

[00:55:16] Like she does not move.

[00:55:18] Yeah.

[00:55:19] It was really weird to watch him die that way.

[00:55:22] It's classic movie nonsense where like in action movies where people fight and there's

[00:55:27] like a team of three against the one guy and they'll all fight one at a time.

[00:55:31] And I'm like, come on, man.

[00:55:32] Right.

[00:55:34] Dog pilot.

[00:55:34] Just dog pilot.

[00:55:35] The amount of times in movies where you are, you, because the characters aren't on screen,

[00:55:41] you're not presented with the fact that they are just stood voyeuristically watching.

[00:55:45] Yeah.

[00:55:47] And in this it's like, oh, well, she's not on screen.

[00:55:50] So we're not supposed to be aware of the fact that she's just sat there voyeuristically

[00:55:54] watching her boyfriend get murdered going.

[00:55:57] Well, you see her sit there, watch it.

[00:56:00] That's what's crazy.

[00:56:02] It's not even like you see her off.

[00:56:04] You don't see it.

[00:56:05] She's off screen.

[00:56:06] You watch her watch this man die.

[00:56:08] And then she gets up and decides to then say, oh, there's the gasoline.

[00:56:13] Let me light the shit.

[00:56:14] And again, in movie fashion, she can't fucking light the lighter.

[00:56:17] The one easy ass skill you have in this movie.

[00:56:22] Horror movies have done terrible things for the marketing of lighters and torches.

[00:56:27] And then she doesn't die.

[00:56:29] Like we see the morgue.

[00:56:30] We see the sheet over his body.

[00:56:33] And then somehow she's still alive.

[00:56:35] And then she goes to identify his body.

[00:56:37] And then the spirit is there again.

[00:56:39] Out and about.

[00:56:40] I'm telling you, it's stalking.

[00:56:41] You've had many chances to take out Karen, ma'am.

[00:56:45] And then it just cuts to black.

[00:56:48] Like we don't see what the ghost does to Karen.

[00:56:51] It just cuts to black in credits.

[00:56:53] Gives her her phone number.

[00:56:54] Let me tell you a fun journey that happened to me watching this movie.

[00:56:58] Because I'm confused as to what the fuck's happening.

[00:57:02] I get to the end of this movie.

[00:57:04] Karen's back to back like she's about to do a movie poster.

[00:57:10] Said spirit.

[00:57:11] And then I see a little timer from Peacock putting on an ad.

[00:57:16] So I watched the whole ad.

[00:57:18] Thinking, oh, there's more parts.

[00:57:22] Oh, no.

[00:57:23] And then there was nothing.

[00:57:25] Oh, Peacock got you.

[00:57:28] I pay for Peacock.

[00:57:30] So I didn't get the ad.

[00:57:31] But it immediately started playing Insidious.

[00:57:34] And I'm like, no, I don't.

[00:57:35] I don't want this.

[00:57:37] I don't know why I got the ad.

[00:57:39] Because the entire episode was there were no ads in it.

[00:57:42] And then at the end, like it just face black.

[00:57:44] And I see a spinning wheel.

[00:57:47] And they show me.

[00:57:48] It's like a promo.

[00:57:49] I don't fucking know.

[00:57:50] And then it does start playing another movie.

[00:57:53] And I was like, what?

[00:57:55] I thought I missed.

[00:57:56] I was like, I don't.

[00:57:59] We don't get Peacock in the UK.

[00:58:01] But we have Amazon Prime.

[00:58:03] And I pay for Amazon Prime, right?

[00:58:06] Right.

[00:58:06] And they've just introduced this stupid thing where, okay, yeah, you've paid for it.

[00:58:10] But we're going to put adverts in it.

[00:58:11] Now you're going to get ads.

[00:58:12] And I swear to God, they like on terrestrial or like cable television over here, there's a general sense of sensitivity.

[00:58:20] Like they'll wait for a scene to end.

[00:58:22] And Amazon doesn't give up.

[00:58:24] Fuck.

[00:58:25] Like a new syllable.

[00:58:28] It's just like program like 25 minutes into the movie.

[00:58:32] Play the ad.

[00:58:33] Like you don't give a shit what's going on.

[00:58:36] It's absolutely horrible.

[00:58:37] Awful.

[00:58:37] And it's always what I hate about it is that they'll do the analytics on the cookies from your search history.

[00:58:44] And they'll go, here are the four adverts you're going to be watching all fucking week.

[00:58:48] Yeah.

[00:58:49] Jesus.

[00:58:51] Yeah.

[00:58:51] Speaking of the hospital stuff, man.

[00:58:53] I'd like the film itself felt very American.

[00:58:57] I know it's set in Japan.

[00:58:57] But like there was a few things like clerical things that didn't match up to my experiences in Japan.

[00:59:04] And it kind of snapped me out of it like quite violently.

[00:59:08] So like I had to visit the hospital when I was living in Japan for whatever reason.

[00:59:13] I think it was like suspected liver failure because of my job.

[00:59:16] I was drinking heavily for like stupid.

[00:59:18] Yeah.

[00:59:19] Yeah.

[00:59:19] I was a host.

[00:59:20] It's essentially like a rent a friend.

[00:59:21] Someone comes in, buys you for an hour and you sit and drink with them.

[00:59:23] It's a watered down hooker.

[00:59:25] I was a watered down hooker.

[00:59:26] It's a prostitute friendship.

[00:59:26] There you go.

[00:59:27] Yeah.

[00:59:28] Yeah.

[00:59:28] There you go.

[00:59:28] So that was fun.

[00:59:29] But I was drinking a lot because customers would buy you the drinks and shit like this.

[00:59:33] Ended up at the hospital.

[00:59:34] My experience in the hospital was fucking wildly different to this.

[00:59:38] So I was watching it.

[00:59:39] I was like, that's what would happen if I went to the hospital now over here.

[00:59:41] But when I was in Japan, they were like, right.

[00:59:43] Okay.

[00:59:43] Strip it down.

[00:59:44] Here's some hospital issue underwear.

[00:59:46] Stand on this platform.

[00:59:47] There's six of us around you.

[00:59:49] Here's the diagnosis.

[00:59:50] Get the fuck out.

[00:59:52] Also, that's three grand.

[00:59:53] And I'm like, brilliant.

[00:59:54] That's amazing.

[00:59:55] Let's go.

[00:59:56] Oh my God.

[00:59:56] So that was it though.

[00:59:57] But it was like an in and out thing.

[00:59:58] They wanted to know immediately.

[00:59:59] You wanted to do your thing straight away.

[01:00:01] They wanted to get you out.

[01:00:01] It wasn't sort of like, the police are going to come in and question you now.

[01:00:04] Right.

[01:00:05] Would you like Jell-O?

[01:00:06] Right.

[01:00:07] Yeah.

[01:00:08] Feel free to stay in your little corner.

[01:00:11] Yeah.

[01:00:13] Yeah.

[01:00:13] Yeah.

[01:00:14] I mean, Ben, to be honest, your experience sounds like a mugging with extra theater.

[01:00:18] It was to be fair, man.

[01:00:20] It kind of was it.

[01:00:21] It's mugging with a diagnosis.

[01:00:23] Yeah.

[01:00:24] Give us all your fucking money.

[01:00:25] And by the way, you have a spiritually transmitted disease.

[01:00:29] Goodbye.

[01:00:30] That's essentially it.

[01:00:31] It was great.

[01:00:32] He has a few little bits that snapped me out of it.

[01:00:34] We did it, Jackie.

[01:00:36] We did it.

[01:00:36] That is the grudge.

[01:00:38] Yes.

[01:00:38] Yay.

[01:00:38] That is the grudge.

[01:00:39] Let's see if there are any fun facts that are interesting enough to recall that we missed.

[01:00:47] I do love that Bill Pullman appeared in Scary Movie 4 as a parody of this film as the same exact character.

[01:00:54] And I feel like this is why I thought I saw this movie and why every time I saw it as a little boy, I started laughing.

[01:01:01] Like literally because of Scary Movie.

[01:01:03] Oh, is that when he's at the top of the stairs being like Mitsubishi?

[01:01:07] Koshiba.

[01:01:11] It's fucking outrageous.

[01:01:13] I need to watch that again.

[01:01:14] The director doesn't speak English.

[01:01:17] So he had to have translators on set in order to help him direct the casting crew who didn't understand Japanese.

[01:01:26] I think that goes some way to explain some of the performance decisions in the film.

[01:01:30] But the actors said that like they like all the actors on the movie adored him as a director.

[01:01:37] And they loved that he made it so much fun to be on set.

[01:01:41] Like he would kind of come up behind them and kind of scare them sometimes.

[01:01:46] It just he was just really fun.

[01:01:48] Yeah, I know.

[01:01:49] He did all the noises.

[01:01:52] Oh, yeah.

[01:01:54] So I think he would like come up behind them and do that again.

[01:01:57] And as charming as that is for a man who's made the same film five times with the same cast on the same set.

[01:02:03] Yeah.

[01:02:03] The fact that he's also the guy making the noises.

[01:02:06] I'm like, dude, this is this is less of a hobby now and more of a diagnosis.

[01:02:15] We've got your test results back.

[01:02:17] You are bisexual.

[01:02:21] From the sounds, they do say that Keioko's signature croak comes from the fact that her husband snapped her neck and he did.

[01:02:32] But it like the snapping of her neck didn't kill her.

[01:02:35] And so she is trying to breathe through a broken windpipe.

[01:02:40] Oh, nice.

[01:02:41] So that sucks.

[01:02:43] And her stumbles also come from the fact that her ankle is broken from trying to run away from her husband.

[01:02:50] She also is covered in blood because he slashed her repeatedly with a box cutter.

[01:02:56] So this is all in the extended cut.

[01:02:58] Like I've got the extended cut and it's great.

[01:03:01] Yeah.

[01:03:01] Is it all of this stuff is in there in like the black and white flashbacks?

[01:03:05] Yeah.

[01:03:05] You see, I got the extended cut, but I couldn't get the subtitles for the extended cut.

[01:03:09] So I had to get them separately as well.

[01:03:11] Yeah.

[01:03:11] And so all my subtitles were wildly out of sync.

[01:03:15] So for the scenes in Japanese, I had to watch it and go, oh, this is fascinating.

[01:03:19] And then about 90 to 180 seconds later, the subtitles would flash up of what the Japanese conversation was in the last scene.

[01:03:29] Yeah.

[01:03:30] It's good, man.

[01:03:31] It's fun.

[01:03:32] The thing I find interesting is that when Sarah Michelle Gellar did the DVD Blu-ray commentary, she remembers that Jason Bear had recently guest starred on Buffy the Vampire Slayer.

[01:03:43] To be more exact, season two, episode seven, Lie to Me.

[01:03:47] But she did not remember that Clea Duvall was also on an episode called Out of Mind, Out of Sight.

[01:03:55] My favorite episode.

[01:03:56] The girl who turns invisible.

[01:03:57] This was because Gellar never had any scenes with Duvall.

[01:04:01] Oh, okay.

[01:04:02] So there's that.

[01:04:02] I thought it was because she was actually invisible.

[01:04:06] I see if I was Clea Duvall, I would have taken that as shade.

[01:04:09] I'd be like, oh, you remember him, huh?

[01:04:11] Yeah.

[01:04:11] Well, they were in scenes together.

[01:04:14] Yeah, no, that makes it more, less upsetting.

[01:04:17] Before filming, the cast and crew went through a ceremony where they were blessed so nothing bad could happen to them for filming.

[01:04:24] And you know what?

[01:04:25] American white movies, y'all need to do this shit.

[01:04:28] Because we have done a few spooky movies or even witch movies on this podcast, The Craft, Practical Magic, where they did not do any blessings.

[01:04:38] Which is obviously to respect that this is real practice for people.

[01:04:44] And they had crazy shit happen on their sets.

[01:04:47] Yeah.

[01:04:48] Look at The Crow.

[01:04:49] The Crow is one of the most cursed productions in history.

[01:04:53] They had a phone call on day one saying, don't do it because bad stuff's a coming.

[01:04:56] And they were like, nah, it's fine.

[01:04:58] And then they tried to redo the shit.

[01:05:00] Like, y'all learned that.

[01:05:01] Oh, we covered both.

[01:05:03] Oh, mate.

[01:05:04] Have you seen the remake?

[01:05:06] No, I refuse.

[01:05:07] Never do.

[01:05:07] Just never do.

[01:05:08] Don't bother.

[01:05:09] It's not worth it.

[01:05:10] Never do not.

[01:05:11] Before we get into ratings, why don't you guys tell everybody where they can find you on social and where they can listen to your podcast?

[01:05:18] Well, the podcast is everywhere.

[01:05:19] Spotify, Apple Podcasts, anywhere you listen to podcasts.

[01:05:22] Same with YouTube.

[01:05:24] We put full episodes of the podcast up on YouTube.

[01:05:26] We put extra stuff on YouTube as well.

[01:05:29] But social media, we've got TikTok.

[01:05:31] And that's at everymovieeverpodcast.

[01:05:33] Instagram is everymovieever underscore podcast.

[01:05:37] And YouTube with just everymovieeverpodcast.

[01:05:40] But we are upsettingly active on social media with content that's unique to those platforms.

[01:05:47] So you won't hear it in the show, but it means that, you know, you're not getting duplicate stuff.

[01:05:52] We care.

[01:05:53] We care.

[01:05:53] We don't care.

[01:05:55] I ain't got time for that.

[01:05:56] So if you want to see duplicate shit, head over to atnomorelatefeeds on Instagram, Facebook, TikTok, Twitter, YouTube, and threads.

[01:06:04] And if you want to see any links that we talked about, it will be in our show notes.

[01:06:09] All right, Jackie.

[01:06:10] Hit us with these ratings.

[01:06:11] Okay, so how are we feeling?

[01:06:14] Rob, we'll start with you.

[01:06:16] What is your present day rating of The Grinch?

[01:06:18] Okay, so this is a two-day rental.

[01:06:20] I, during the watching of it, having only seen the original, but I hadn't seen the original since it came out.

[01:06:27] You know, it was an early 2000s watch for me.

[01:06:30] So I kind of had it on this pedestal of like, oh, it's great.

[01:06:32] And re-watching this, there wasn't that much to dislike, realistically, that was an addition or somehow, you know, worse than the original in ways that were obvious from a 20-year memory of a film.

[01:06:47] Having talked about it extensively with you guys, I like it less.

[01:06:53] You're welcome.

[01:06:54] I would have said, like, yeah, it's fine.

[01:06:56] It's fine.

[01:06:57] But as we've talked about it, I'm like, oh, no, this is dog water.

[01:07:00] Like, it's just bizarre, bizarre choices that sort of don't translate across the cultural barrier.

[01:07:09] Western people acting in bizarre ways, Japanese people acting in bizarre ways.

[01:07:13] And it's a kind of nobody's behaving as they would really.

[01:07:17] It's a kind of halfway house between two cultures that ends up existing nowhere.

[01:07:22] But there are some spooks in there that got me.

[01:07:25] There's a jump scare on a bus that I wasn't expecting that I found particularly unpleasant.

[01:07:30] And again, it comes back to, you know, everyone's got a corner in their ceiling.

[01:07:38] Everyone's got a corner in their ceiling that you don't look at.

[01:07:41] And this is a film that will make you check it when you go for a wee in the night.

[01:07:46] Oh, my God.

[01:07:47] There you go.

[01:07:48] So this is a two-day rental for me.

[01:07:51] I don't hate it.

[01:07:52] I don't think it's awful.

[01:07:53] I would watch it again.

[01:07:56] But in like 20 years.

[01:07:59] What, you've forgotten?

[01:08:00] Yeah.

[01:08:03] I'm going to put this as a two-day rental.

[01:08:06] Watching it, it was great for nostalgia reasons.

[01:08:09] I was like, holy shit, I feel like I'm, you know, 13, 14 again.

[01:08:13] Doing my little family watch along.

[01:08:15] So that was great.

[01:08:16] That was a great aspect of it.

[01:08:17] But then I think I'm old enough and I've been spoiled by horror movies and plot lines and, you know, well-written stuff that I can sort of relate it to.

[01:08:26] And I'm like, ah, sure.

[01:08:28] Sure.

[01:08:29] Sarah Michelle Gellar was a welcome nostalgic crush that I hadn't thought about for a little while.

[01:08:34] Because Jesus Christ, the second she was on the screen, I was 14 again.

[01:08:37] I was like, you bit your brain took over.

[01:08:40] Nothing else mattered.

[01:08:40] And I was like, hello.

[01:08:42] And we're back.

[01:08:42] And we're back.

[01:08:44] Hello.

[01:08:45] Other than that, there's not much going for it.

[01:08:47] It's fine.

[01:08:48] It's fine.

[01:08:48] It's aggressively mediocre.

[01:08:49] There's a few jump scares.

[01:08:51] That's it.

[01:08:52] That's it.

[01:08:52] Two-day rental.

[01:08:53] There you go.

[01:08:54] Same-day rental for me.

[01:08:55] I can't kill it.

[01:08:56] I don't want it.

[01:08:58] Okay.

[01:08:59] But sorry.

[01:09:00] Let me just briefly.

[01:09:02] Briefly.

[01:09:02] I'm confused.

[01:09:03] So, like, a horror movie should be scary, right?

[01:09:07] You want to be scared by it.

[01:09:08] So, if you can kill the thing, it's less scary.

[01:09:14] Still scary, but there's a fighting chance, though, right?

[01:09:16] Yes.

[01:09:17] But you're saying if you can't kill it, it's so scary that it's no longer a good horror movie.

[01:09:22] Not that it's good.

[01:09:24] I just don't want to watch it.

[01:09:26] Oh, okay.

[01:09:27] Okay.

[01:09:28] Fair, fair, fair, fair.

[01:09:30] Yeah.

[01:09:30] It can be an excellent movie, and I just don't want any part of it because I don't want to lay awake at night looking in the corner of my ceiling.

[01:09:38] I'm just wondering if she's going to come after me, and I have no fighting chance.

[01:09:42] Totally understandable.

[01:09:44] Yeah, yeah.

[01:09:44] I get that now.

[01:09:46] It's a worse film because it's scary.

[01:09:48] I was like, no?

[01:09:52] What are you rating it, Danielle?

[01:09:53] I don't know what was happening.

[01:09:59] I don't know what was happening.

[01:10:02] So I'm going to say same day.

[01:10:05] Is it worse than Killjoy?

[01:10:06] No.

[01:10:08] But it's still a same day rental for me.

[01:10:11] I can't.

[01:10:12] If I never see this movie again, I'll be okay.

[01:10:16] Because I don't know what the fuck was happening.

[01:10:20] Very fair.

[01:10:21] Yeah.

[01:10:23] Well, if you have any opinions on The Grudge, hit us up at our quick drop, 909-601-6653.

[01:10:31] Tweet us at the Twitters, hum us at the threads, and you can be featured on a future episode.

[01:10:36] And don't forget to tune in next week as we get ready to face the traps and terror of Saw.

[01:10:42] And just a caveat, I have never seen Saw before, so it will be a very interesting ride.

[01:10:47] Oh, I'm so jealous.

[01:10:50] And a huge shout out to Ben and Rob from Every Movie Ever for stopping by.

[01:10:56] We had a blast.

[01:10:57] We have your list of movies that we've earmarked for you in the future.

[01:11:02] Yes.

[01:11:03] But thank you so much for joining us this week.

[01:11:06] It's been an absolute pleasure and an utter privilege.

[01:11:08] Thank you so much.

[01:11:09] Thank you so much for having us.

[01:11:10] It's been amazing.

[01:11:12] And as always, be kind and rewind.