This week, Roy Scheider co-stars alongside Adam Baldwin as two at-odds assassions in a bleak, nasty thriller from the screenwriter behind THE HITCHER and NEAR DARK - it's time for COHEN AND TATE!
[00:00:00] It's showtime folks! It's some bad hat Harry.
[00:00:04] What was the weight of the car when you got it there?
[00:00:06] You're not right or wrong. You just don't care.
[00:00:09] Fenway! Oh sons of bitches. I didn't know. I didn't know.
[00:00:17] Welcome to episode 25 of The Complete Works season 4, a deep dive into the career and films of actor Roy Scheider.
[00:00:30] My name is Mike Smith and joining me on this journey across the Scheiderverse is my friend, co-host and fellow Roy boy.
[00:00:37] Mike Strieche. How are you doing today Mike?
[00:00:39] I'm doing great. I'm actually very excited for today's episode. I was lying the other 24 times. This time I meant it.
[00:00:47] Even when we were talking about Jaws and the French Connection and Sorcerer, you're like ah, you know, whatever these movies. I don't care.
[00:00:53] I was lying those other 21 times.
[00:00:57] Yes. Well, if you're a fan of 80s horror films, and I know you are Mike,
[00:01:01] I am. Then you might be familiar with the name Eric Redd.
[00:01:04] He was the screenwriter for two of the darkest, bleakest horror films of the time, both of which came out within a year of each other.
[00:01:11] 1986 is The Hitcher starring Rutger Hauer and Catherine Migelow's 1987 vampire movie Near Dark.
[00:01:17] Have you seen these movies, Mike? I have. Yes. OK, they rule. They're awesome. So good.
[00:01:23] Yes, they're very good. Now, neither one of these movies really set the box office on fire at the time.
[00:01:28] Well, they are both certainly cult objects now, but they did give Eric Redd the clout to get his first feature as a director made.
[00:01:34] And today's film, like The Hitcher and Near Dark Before It, it's a really mean, grimy piece of work.
[00:01:41] I think piece of work is a really good way to describe. Yes.
[00:01:44] You know, when when we watched 52 Pickup, we had seen a lot of like, you know, discussion about it being like, oh, this is like a pretty like mean, nasty movie.
[00:01:53] This bit, man, like you're not ready for Cohen and Tate.
[00:01:58] You think that's bad. Wait, do you get a load of this movie?
[00:02:02] Today's film, a loose adaptation of O. Henry's short story The Ransom of Red Chief features Roy Scheider paired up with Adam Baldwin as two assassins transporting a nine year old kid to the mafia.
[00:02:13] Scheider actually joined the film late in the process. A few actors passed in the role before him.
[00:02:17] Gene Hackman was supposed to be the lead of this movie, which would also be pretty good.
[00:02:21] John Cassavetes was also considered as well. Interesting.
[00:02:24] But they passed. Roy Scheider took it. And since Roy Scheider is in it, it's time to talk about Cohen.
[00:02:31] And Tate's 30 years. I work alone.
[00:02:35] 30 years, I always do the job. And then this week they give me this job and tell me I got to put on a second gun.
[00:02:42] My age, you don't make a remark.
[00:02:45] In this business, they don't retire to Florida. They don't give you any social security and you don't get a gold watch.
[00:02:51] What you do get one day when you're not looking is a brief pain in the back of your head and a quick glimpse of your brains flying out before they scrape you up off the side.
[00:03:48] Cohen and Tate.
[00:03:50] We both have jobs to do. Your job is to look after the public safety. Don't worry about mine.
[00:04:01] So Cohen and Tate stars Roy Scheider as Cohen, the older half of an assassin duo and certainly the more level headed one of the two.
[00:04:10] Yes. Tate is played by Adam Baldwin, who is probably best known for Firefly. Am I right about that?
[00:04:15] Oh, yeah, I guess so. Yeah, I can't tell you anything else that he would have been known for.
[00:04:19] I mean, that's definitely what I know him from. Have you seen Firefly? Have you watched Firefly?
[00:04:23] Not not enough. OK, but but he's, you know, part of the main cast of Firefly, which, of course, ran for 14 episodes and then a movie.
[00:04:30] But he was in there also crucially. He is not part of the Baldwin family.
[00:04:39] I always assumed like when I watched Firefly, I was like, oh, here's a Baldwin I didn't know about.
[00:04:43] But yeah, you know, he's not part of Alec Baldwin's family. He's just a different guy who is named Baldwin.
[00:04:49] Is that is that allowed? Yeah, apparently. I mean, he got in there.
[00:04:53] He plays Tate, a psychopathic younger man who runs over animals in the street just for fun.
[00:04:59] Yeah, true. The two of them are tasked with bringing nine year old Travis Knight to the mob.
[00:05:05] Travis is played by Harley Cross, who's a child actor who was recommended by Ridley Scott, actually,
[00:05:11] because he had actually just appeared in Ridley Scott's movie Someone to Watch Over Me, which have you seen the movie, Mike?
[00:05:17] I remember you talking about like a Ridley Scott neo noir thriller type thing a while back.
[00:05:22] That was a different movie. OK.
[00:05:27] About a detective being sent to Japan.
[00:05:30] And I can't remember the name of that movie.
[00:05:32] That's a Ridley Scott joint. You're like, whoa.
[00:05:34] What? But no, I've never even heard of that movie.
[00:05:36] OK, yeah, this was from 1987. Someone to Watch Over Me.
[00:05:39] Ridley Scott, also the director of Gladiator 2, one of the best films in the year.
[00:05:44] You're sure.
[00:05:45] Just keep working that into every single episode that we do.
[00:05:48] Yeah, everyone knows you're a big Gladiator 2 guy.
[00:05:50] I'm a big Gladiator 2 guy. I'm a bigger Gladiator 2 guy than a Gladiator guy.
[00:05:53] That's my wild.
[00:05:55] That's my thing.
[00:05:56] You're pretty much just following those three characters for the majority of the movie.
[00:06:00] But Cooper Huckabee from Toby Hooper's The Fun House and Django Unchained.
[00:06:04] He plays Jeff Knight, Travis's father.
[00:06:06] Suzanne Savoy from The Nick and House of Cards plays Martha, Travis's mother.
[00:06:11] And Marco Perella, who is the abusive alcoholic second husband in boyhood, plays FBI agent George.
[00:06:17] Classic.
[00:06:18] Black Rain was the movie you were probably thinking of.
[00:06:21] Oh, yeah.
[00:06:21] That's the one I was thinking of.
[00:06:22] Yes.
[00:06:22] The movie is written and directed by Eric Redd in his directorial debut.
[00:06:25] His next film as director would be 1991's Body Parts with Jeff Fahey.
[00:06:29] And his most recent film was a TV movie in 2015 called Night of the Wild.
[00:06:34] It was a sci fi original.
[00:06:35] Cohen and Tate opened on January 27th, 1989, opened to number 14 at the box office.
[00:06:41] Opening to number two was Three Fugitives with Nick Nolte and Martin Short.
[00:06:45] And opening to number nine was Physical Evidence, which was directed by Michael Crichton and starring Burt Reynolds.
[00:06:51] Number one was Rain Man in its seventh week of the box office.
[00:06:55] And the rest of the top ten consisted of Beaches, Twins, Mississippi Burning, Working Girl, The Naked Gun, The Accidental Tourist and Dirty Rotten Scoundrels.
[00:07:04] What a wild time to be alive.
[00:07:06] Yes, this is very it's January 89.
[00:07:08] So it's a lot of like 88 leftovers that are kind of kind of in here right now, including Rain Man, which won Best Picture at the Oscars.
[00:07:14] The IMDb plot synopsis for Cohen and Tate reads when a little boy witnesses a mob hit, he is kidnapped by two professional assassins who are not what they seem.
[00:07:24] And I will say what they are what they are.
[00:07:29] Are they mob assassins? Check. Yes.
[00:07:32] Yes. Got it. All right.
[00:07:33] There's nothing going on under the surface between these two guys.
[00:07:35] They are.
[00:07:37] They are exactly what was described.
[00:07:39] That's so funny.
[00:07:41] So, Mike, going into Cohen and Tate, I mean, first of all, we are like I just hear the title Cohen and Tate.
[00:07:46] I knew it was a two hander with Roy Scheider and Adam Baldwin.
[00:07:49] So I was like, this must be some kind of like buddy cop movie.
[00:07:52] You know, that was kind of my guess as to what it was.
[00:07:55] It's not even remotely close to that close to that at all.
[00:07:58] So my expectations were different than what the movie actually was.
[00:08:01] What are your overall thoughts on Cohen and Tate?
[00:08:03] What were you expecting from it?
[00:08:05] Going into it. Yeah, I don't know if I maybe I think I had heard of this movie,
[00:08:09] but I might have heard of Tango and Cash and just assumed to like others sound similar,
[00:08:14] which which is a buddy cop movie with Kurt Russell's best alone.
[00:08:18] So I might have just thought that was this movie.
[00:08:20] And I mean, not like literally, but like that name.
[00:08:22] I might have just been like, well, yeah, I've heard of this.
[00:08:24] Right.
[00:08:25] But I don't know for sure.
[00:08:27] But it's interesting.
[00:08:28] Body Parts is also a cult horror movie.
[00:08:32] So like Eric Redd just like missed it by that much four times in a row.
[00:08:37] So I don't know what the like general reception to that movie was,
[00:08:40] but I do know that now it is sort of a regarded cult movie, which is pretty fun.
[00:08:44] Have you seen Body Parts?
[00:08:45] I have not seen it, but I hear it's on a lot of horror podcasts and stuff.
[00:08:49] People talk about it.
[00:08:50] Fair enough.
[00:08:50] I think Elric Kane is a big fan of that movie from pure cinema pod.
[00:08:53] Okay.
[00:08:54] Yeah.
[00:08:55] But so to Conan Tate.
[00:08:57] Yeah.
[00:08:57] I don't know.
[00:08:57] You look at the poster and you're kind of like, is this some kind of grimy movie, whatever
[00:09:02] kind of thing?
[00:09:03] It feels like a candid movie.
[00:09:04] Like we talked about in 52 pickup.
[00:09:06] I feel like there's a lot of like cultural crossover between these two movies or whatever.
[00:09:10] But yeah, overall, I think this movie rips.
[00:09:13] It's so it has no right to be anywhere as good as it does.
[00:09:18] And I don't know if it's even that good.
[00:09:20] I like, I don't know.
[00:09:21] I think I watched this with a couple of friends, one of which joined about halfway through
[00:09:25] and he was like, what did I miss?
[00:09:27] And I was like, well, this kid saw a murder and these two guys kidnapped him and it's been
[00:09:31] 45 minutes.
[00:09:35] And it's kind of here we are.
[00:09:38] So my friend was just like, what is what is that?
[00:09:40] My other friend was like, what is like, what is the significance of significance of him
[00:09:43] being nine?
[00:09:44] I don't understand like the final line of the movie and stuff.
[00:09:47] So anyway, I think this movie is a hot mess, but I had a fucking blast with it because it
[00:09:51] is just so gnarly and insane.
[00:09:54] There's a moment at the beginning or I guess it's not really the opening act like at the
[00:09:58] farmhouse or whatever.
[00:09:59] Right.
[00:10:00] After Cohen and Tate have shown up and they start blowing people away.
[00:10:03] And there's a scene where it cuts to outside the house and a police officer gets shot with
[00:10:07] a shotgun and launched through the window.
[00:10:09] But he's also accompanied by like a fire hose of blood.
[00:10:14] And it's the cool.
[00:10:15] It's like the coolest shit I've ever seen.
[00:10:19] And yeah, the squibs are the juiciest squibs I've ever seen in a movie.
[00:10:22] So yeah, I don't know.
[00:10:23] I had a lot of fun with just this like disgusting movie that almost makes you feel like you need
[00:10:28] a shower by the end of it.
[00:10:29] Yeah.
[00:10:31] And I could have foreseen a future where this would be part of an ongoing action movie series
[00:10:37] at a certain theater, you know, in an alternate world.
[00:10:41] Certainly I was thinking about that.
[00:10:44] Yeah.
[00:10:45] So, but yeah, I had a blast.
[00:10:47] I had a really fun time with Cohen and Tate, even though I'm not sure I was supposed to.
[00:10:51] Yeah.
[00:10:51] No, I thought this movie was incredible.
[00:10:54] I loved this so much.
[00:10:56] Uh, as like, if you saw this movie and you said to somebody, Hey, you know, the guy who
[00:11:00] made this, he also wrote the hitcher.
[00:11:02] Yeah.
[00:11:02] You'd be like, yeah, that tracks.
[00:11:03] That makes sense.
[00:11:05] The movie with the finger in the, in the hamburger.
[00:11:08] Yeah.
[00:11:08] It all, it's all coming together.
[00:11:10] Uh, yeah, no, I think this movie is so fun.
[00:11:14] Uh, it's so bleak and dark and mean, but I think in a very like fun way.
[00:11:19] Uh, I mean, it is, it is sort of over the top as well, but it's, it's, it does such a
[00:11:23] great job of like ratcheting up tension.
[00:11:24] Most of the movie is one car ride.
[00:11:27] Yeah.
[00:11:28] Um, you know, and so they, the movie opens and you have this like opening crawl that
[00:11:32] tells you that Travis Knight, which that crawl moves a thousand miles an hour.
[00:11:37] It was barely, I barely caught up.
[00:11:40] Yeah.
[00:11:40] No, it tells you that Travis Knight, uh, you know, witnessed something about the mafia.
[00:11:44] Um, did they even tell, did they say it's a murder in the, in the, in the
[00:11:47] missed a mafia murder?
[00:11:48] Yeah.
[00:11:48] Okay.
[00:11:48] I was going to say, I wasn't even sure that the movie even tells you like what the
[00:11:52] kids saw necessarily, but yeah, maybe it does say like murder or something like that.
[00:11:57] But yeah, he witnessed some kind of murder and his family was placed a witness protection
[00:11:59] program.
[00:12:00] Uh, and then at the very end of it, Travis Knight is nine years old.
[00:12:03] Fuck yeah.
[00:12:04] Let's go.
[00:12:04] And, uh, and the opening scene of the movie is, uh, you know, they're on like this farmhouse
[00:12:08] in the middle of nowhere.
[00:12:09] It's very much, uh, like the searchers, which apparently Eric read, um, like drew influence
[00:12:14] from like John Ford movies and things like that.
[00:12:16] And yeah, it's this farmhouse in the middle of nowhere.
[00:12:18] He's it's him and his parents and this FBI agent, uh, that are there.
[00:12:22] And they, they have gotten word, I guess that they're the mob has sent people to try to
[00:12:26] catch him.
[00:12:27] Right.
[00:12:27] Yeah.
[00:12:27] Uh, which is why the FBI is there, like kind of keeping watch and then Roy Scheider and
[00:12:31] Adam Baldwin come in, wreck the place.
[00:12:33] Uh, you know, they, they shoot, they, they kill, they seemingly kill, uh, his father and
[00:12:39] they kill his mother and they kill the FBI agents and they steal the kid and they get
[00:12:42] out of there.
[00:12:43] Turns out the father survived.
[00:12:44] Um, which when you're watching it, you're like, how could that possibly be true?
[00:12:48] Well, he's the only one, uh, which I think I thought was interesting.
[00:12:51] He's the only one we see Scheider shoot.
[00:12:55] The other ones are shot by, uh, Tate.
[00:12:57] Oh yes.
[00:12:58] Uh, I almost said Billy Baldwin.
[00:13:01] That's not his name.
[00:13:02] Uh, Adam Baldwin.
[00:13:02] Adam Baldwin.
[00:13:03] I almost did the thing.
[00:13:04] Um, we see Adam Baldwin shoot, uh, Tate and he's the psycho.
[00:13:08] So like he would make sure he'd blow them away or he's the guy that shoots the FBI agent
[00:13:12] with the fire hose of blood out the window.
[00:13:14] Uh, all that stuff.
[00:13:15] But, uh, Cohen one shot, you know, one bullet, boom, clean, simple.
[00:13:19] Uh, yeah.
[00:13:20] And that is his thing in the whole movie.
[00:13:21] Uh, it fucking rules every time he does it.
[00:13:23] It's so cool.
[00:13:24] It's so awesome.
[00:13:25] Yeah.
[00:13:25] Uh, yeah.
[00:13:26] They kidnap the kid and then it's just a car ride and the movie does such a good job
[00:13:29] of ratcheting up tension throughout.
[00:13:31] And I think one of my favorite things about it, like when I realized that we were going
[00:13:34] to be stuck with this kid for the whole movie, uh, as you know, notorious child haters,
[00:13:38] uh, don't love me.
[00:13:41] Yeah, no, you're right.
[00:13:42] No, you're right.
[00:13:43] Notorious child hater, Mike Smith, uh, who often has a difficult time with kids in movies.
[00:13:47] Uh, and I think the kid is annoying in the movie, but very deliberately.
[00:13:52] So it works within the story.
[00:13:54] Yeah.
[00:13:54] Yes.
[00:13:55] Uh, and to the degree where like, and what I like about it is the kid is very resourceful
[00:13:59] and is immediately like, you know, obviously he's upset that his parents have died and like,
[00:14:04] he's upset about the whole situation and he's like scared for his life and everything.
[00:14:06] But he's also like playing code and Tate against each other.
[00:14:10] He's, he's somehow a, uh, my friend called him, I think a master of subtertage.
[00:14:15] Yeah.
[00:14:15] That is exactly what he is.
[00:14:17] Anytime he's alone with the other one, he's like, you know, the other guys planning to
[00:14:22] kill you, right?
[00:14:23] It's like, what?
[00:14:24] You're nine.
[00:14:25] What's happening?
[00:14:26] Yes.
[00:14:26] Uh, and he like very quickly realizes like Cohen's the one who's like more reasonable
[00:14:29] and like, I can try to get like with him a little bit more.
[00:14:32] So if Tate like, he'll protect me from Tate, all that kind of stuff.
[00:14:35] But yeah.
[00:14:36] And so he's like, he's so smart and so annoying at the same time.
[00:14:40] Uh, and like just causing so much chaos for these two guys.
[00:14:43] Uh, and like very early on in the movie, he like escapes and like gets out of the car and
[00:14:48] runs, runs across the highway.
[00:14:50] Yeah.
[00:14:50] It does like a frogger kind of thing where he's just like dodging cars here and there and
[00:14:54] all that stuff, uh, which is really, really fun.
[00:14:56] Yeah.
[00:14:56] And it's, it's the kid is so smart and like so savvy, but also so like annoying.
[00:15:02] It's like to the degree where like, I don't know what this kid was up to before this movie
[00:15:05] started, but I could see him being in a situation where he witnessed a mob murder.
[00:15:08] I can tell you whatever happened.
[00:15:10] Like I, this kid was definitely there.
[00:15:12] This kid's around mob murders.
[00:15:14] Um, yeah, I, I, I think the, the movie is pretty interesting in its structure where maybe
[00:15:19] the first 15 minutes, I don't even know if it's that long, but it feels like it's about
[00:15:22] 15 minutes is just the farmhouse, just the family in witness protection with the father,
[00:15:28] with the mom.
[00:15:28] Yeah.
[00:15:29] With the kid and like the FBI agent that's in on it or whatever is going on, right?
[00:15:33] That one guy gets in the car and drives away and leaves the other agents alone and all that
[00:15:36] stuff.
[00:15:37] There's, there's a lot of, um, like tension in that.
[00:15:40] And you spend a lot of time where I thought the movie, you know, you, you might think the
[00:15:43] movie is going to be about this family or this father and son fleeing code and Tate,
[00:15:47] right?
[00:15:47] You know, we know the movie is called that.
[00:15:48] So we see, right.
[00:15:49] So we're like, okay, they're going to show up at some point and it's going to be about them on
[00:15:52] the run.
[00:15:53] Um, but like, no, holy shit.
[00:15:54] No.
[00:15:55] Oh my God.
[00:15:55] They all got blown away.
[00:15:56] Right.
[00:15:56] And then, and so I think that is interesting, but it does not set up that opening 10 or 15
[00:16:00] minutes does not establish that this is like Macaulay Culkin in home alone.
[00:16:04] Right.
[00:16:04] He like, or whatever, like he's, he, the movie does not go to lengths to show you that.
[00:16:08] Oh yeah.
[00:16:09] He's this super smart.
[00:16:10] So that when he starts doing his subterfuge, it's like, what the fuck?
[00:16:14] What is going on?
[00:16:15] Like, how does this nine year old know how to play these guys against each other?
[00:16:17] It's, uh, it's, it's so fun and so wild.
[00:16:20] Um, and then yeah, the rest of the movie is just like one long car ride essentially until
[00:16:24] you get to like the very final moments where Cohen and Tate are fighting each other.
[00:16:28] Um, but, and then it kind of just ends, uh, it ends in like one of the hardest cut to credits
[00:16:33] I've ever seen.
[00:16:34] Yeah.
[00:16:34] Um, but also it's a tight 85 minutes, man.
[00:16:38] It is in and out.
[00:16:39] It does its thing.
[00:16:40] It gets out of there.
[00:16:42] This movie's crazy.
[00:16:43] Um, yes.
[00:16:44] Yeah.
[00:16:45] I think it's wild how, uh, often the kid is like failed by the adults around him.
[00:16:50] Right.
[00:16:50] He's, he's flags that cop down at this truck stop.
[00:16:52] Yeah.
[00:16:53] And the cop, he, he makes one mistake and the cops like, well, I can't listen to you
[00:16:57] ever again.
[00:16:58] I'm like, boy who cried wolf over here.
[00:17:00] Yeah.
[00:17:00] The single time this nine year old traumatized child is wrong where he thinks of the car driving
[00:17:06] next to them is, is the car that Cohen and Tate were in.
[00:17:09] And when the cop pulls them over, it's some old lady or whatever.
[00:17:12] Yeah.
[00:17:12] So then the next time he sees the car or actually he doesn't see the car, they pull up next
[00:17:16] to the cop car and they're like, Oh shit, it's the kid.
[00:17:18] Yes.
[00:17:19] And he's like, Oh, officer look.
[00:17:21] And he's like, yeah, shut up kid.
[00:17:23] You don't know what you're talking about.
[00:17:24] Uh, and then they, and then they pull up behind the car that like to start driving behind
[00:17:29] the police officer's car and shider comes out the window has his gun out headshots.
[00:17:33] The guy through the, yeah, through the driver's seat, through the seat.
[00:17:37] And he's falling over on top of the kid.
[00:17:40] Who's now trying to drive.
[00:17:41] It's just like the nastiest meanest shit.
[00:17:44] Right.
[00:17:45] And I think it especially feels nastier and meanier because it's happening to a new
[00:17:49] nine year old.
[00:17:49] Yeah, exactly.
[00:17:51] Just this heavy dummy falling over on top of this kid.
[00:17:55] Yeah.
[00:17:55] It looks insane, but this movie's a blast.
[00:17:58] I don't understand how.
[00:17:59] Yes, absolutely.
[00:18:00] Uh, yeah, no, I had such a great time with Cohen and Tate.
[00:18:03] This is like one of my favorite discoveries, this entire podcast.
[00:18:05] It's been so great.
[00:18:06] But what did you think of Roy Scheider in Cohen and Tate, Mike?
[00:18:09] He, he very quickly became old, you know?
[00:18:12] Um, I think it's, what'd you say?
[00:18:14] It was three years between movies, right?
[00:18:16] Um, yes.
[00:18:16] His last movie was 52 pickup, which is 86.
[00:18:19] This is 89.
[00:18:20] 89.
[00:18:21] And now he's the old man, professional hit man that doesn't have time for your shit.
[00:18:26] Uh, I read the new cat, the new kid, the new guy.
[00:18:28] Yeah.
[00:18:29] And, uh, he very quickly became old, but he it's, it's still the, you know, just barely
[00:18:34] contained simmering violence, uh, which is not very contained throughout most of the
[00:18:38] movie, but in the moments in between where he's one shot and guys, um, yes.
[00:18:42] Compared to Tate, he's like the, the model of restraint or whatever, you know?
[00:18:46] Yes.
[00:18:46] Absolutely.
[00:18:46] Yeah.
[00:18:47] Um, but you can tell that he's one of those like old guys that could still just beat the
[00:18:52] shit out of anybody.
[00:18:53] Like when you meet the, you know, have you ever met that kind of old guy before you're
[00:18:55] like, you shake their hand and you're like, Oh my God, um, he's got that kind of vibe.
[00:19:00] Um, yes, absolutely.
[00:19:01] I mean, at, at this point, uh, you know, Scheider was born in 1932.
[00:19:04] So he is in his late fifties at this point.
[00:19:07] Yeah.
[00:19:08] Which, and he is somebody who, uh, you know, became a movie star late, you know, probably
[00:19:11] when he, when he was in his forties.
[00:19:12] Right.
[00:19:13] Yeah.
[00:19:13] And I mean, he, I don't think he looks like ancient, but, uh, compared to even to his role
[00:19:18] in 52 pickup where he is still this kind of, uh, I mean, older, you know, middle eight,
[00:19:23] whatever, upper class, you know, married, whatever, like we were talking about family
[00:19:27] man, business owner guy.
[00:19:29] Yeah.
[00:19:29] Who still has the energy to have a mistress.
[00:19:31] Uh, right.
[00:19:31] In 52 pickup.
[00:19:32] Right.
[00:19:32] Exactly.
[00:19:33] Yeah.
[00:19:33] And in this, he's just like the, the loner old guy.
[00:19:36] And I think he does a really good job.
[00:19:37] I think he's great.
[00:19:38] Uh, I think the moments when they're driving after they've picked up the kid and they're,
[00:19:43] uh, Cohen is talking about, you know, having done this for 20 years or whatever, whatever
[00:19:47] it is, what, you know, he's like old hat at this and he's never had a partner.
[00:19:50] And then all of a sudden they give him a second gun to go with him.
[00:19:54] And you know, you, you don't get a retirement package in this line of work.
[00:19:57] All you do is get like a, a brief pain in the back of your head or whatever he says,
[00:20:00] which is like the hardest line of all time.
[00:20:02] Um, yeah.
[00:20:04] And, uh, yeah.
[00:20:04] Him sort of acknowledging that, oh yeah, this is the final one.
[00:20:07] Tate's going to be ordered to kill me next kind of thing, uh, which really sets the tension
[00:20:11] for the, the, the animosity between these two guys.
[00:20:14] Yeah.
[00:20:14] And so these guys like very clearly like hate each other from the outset, which is, uh,
[00:20:20] you know, a very fun dynamic to see them kind of play off.
[00:20:22] Um, because Adam Baldwin is so hotheaded in this movie.
[00:20:25] He said he's a full on psychopath.
[00:20:27] Yeah.
[00:20:27] Like I mentioned before, he's the kind of guy who runs over animals in the street for
[00:20:30] fun.
[00:20:31] Cause he likes the sound it makes is what he says.
[00:20:33] Yeah.
[00:20:34] Uh, and he's like, oh, that must've been a dog or something.
[00:20:36] Ha ha.
[00:20:37] Like, you know, and Scheider is just like so sick of him, like so sick of his shit.
[00:20:41] Uh, and so, and so sick of his like unprofessionalism.
[00:20:44] Like Scheider is like the most professional assassin right in this movie.
[00:20:48] Right.
[00:20:48] He's again, he does all this stuff in one shot.
[00:20:51] He knows not to kill the kid because he has to bring him to the people.
[00:20:54] They want him unharmed.
[00:20:55] Whereas Tate is like ready to kill him at a moment's notice.
[00:20:58] Yes.
[00:20:59] Actively trying to kill him most of the movie.
[00:21:01] Yes, exactly.
[00:21:02] And so I, I liked their dynamic where they were just kind of constantly at odds.
[00:21:06] And then there's like moments where they're like, they're not like, they kind of, they,
[00:21:10] they sort of gel a little bit.
[00:21:11] Uh, there's, there's stuff where, uh, you know, earlier in the movie when Tate is just
[00:21:16] like, it's like, ah, you know, bugs in the windshield.
[00:21:18] What do you think is going on through their head?
[00:21:20] Like blah, blah, blah.
[00:21:21] And Scheider's just like, shut up, man.
[00:21:22] Uh, but then later Tate like tells a joke.
[00:21:25] Uh, it's like, what, what's the last thing that goes through a book's mind?
[00:21:28] Uh, when it goes, when it hits the windshields and Scheider's like rolling his eyes, like,
[00:21:31] cause like we're back on this.
[00:21:33] And then it's like his ass and it makes Scheider laugh.
[00:21:38] And they're kind of like laughing together for a minute.
[00:21:39] And, uh, you know, it's, it's pretty funny.
[00:21:41] Yeah.
[00:21:42] He's like, Hey Cohen, you want to watch me eat a box of matches or something?
[00:21:45] I don't really know why that happened, but it does.
[00:21:48] It does.
[00:21:49] Yeah.
[00:21:49] It happens.
[00:21:51] Um, so yeah, I think Scheider does a really good job in this movie.
[00:21:55] Yeah.
[00:21:55] I think he's great.
[00:21:55] Uh, it's, it's, it's a really cool kind of like late period.
[00:21:58] I mean, I say late period.
[00:22:00] There's still like two decades of Scheider movies to go through.
[00:22:02] Uh, but I think this is kind of one of the last like major starring roles, uh, for Ray Scheider.
[00:22:07] Um, you know, he's mostly kind of a supporting actor from this point forward in his career.
[00:22:10] Uh, so to get like this really cool movie where he's just killing it, uh, is really cool to see.
[00:22:15] But how do you think this fits into the Ray Scheider roles we've seen so far, Mike?
[00:22:19] Um, 52 pickup is kind of like the obvious, like it feels, they feel of a piece with each other.
[00:22:23] Yeah.
[00:22:23] 52 pickup.
[00:22:24] Definitely.
[00:22:25] Um, I was also thinking of the seven ups because it is a car movie.
[00:22:29] Sure.
[00:22:29] Effectively.
[00:22:30] You're right.
[00:22:30] It's a, for a section of it becomes a car chase movie or when they blow through the roadblock
[00:22:35] or whatever, um, or shoot their way through that one roadblock or whatever they do.
[00:22:38] Um, so yeah, there's car chases and stuff.
[00:22:40] So I was thinking of those movies again, seven ups, French connection.
[00:22:43] I think it's another also similar to those kinds of movies too.
[00:22:46] Like the hyper competent, like professional, uh, he often played in those roles.
[00:22:51] Um, even in sorcerer, right?
[00:22:53] Like he's the getaway driver and he's the best driver in the town, in the village or whatever.
[00:22:57] In sorcerer in 2010.
[00:22:59] Right.
[00:22:59] Yeah.
[00:23:00] Yeah, exactly.
[00:23:01] So yeah, I think, I think it is now entering that sort of also a figure of authority, elder
[00:23:06] person kind of role.
[00:23:07] Uh, I think I talked about if you pick up like the weird eighties, but not knowing that it
[00:23:11] skips, we're skipping the 89, but here we are, it's going to be the weird nineties.
[00:23:15] I think looking at the rest of the, his filmography, he somehow makes the equivalent.
[00:23:21] I think he makes 25 movies in the nineties.
[00:23:23] Um, there are, there are a lot of shattering movies, especially in like 97.
[00:23:26] He's in like eight movies or something.
[00:23:28] Um, which would, and I think a few of them are like direct to video stuff.
[00:23:31] Like, uh, you know, he's making more of that kind of thing.
[00:23:33] Right.
[00:23:33] Would also lend itself to the sort of just lesser, more supporting, more of a sort of,
[00:23:40] Oh, his name being attached might help get this movie kind of made type deal where I'll
[00:23:44] be, I'll be on set for five days or whatever.
[00:23:47] Right.
[00:23:47] You know, like you're a couple of days.
[00:23:48] I mean, we'll see.
[00:23:49] I don't know, but that's sort of what I'm assuming those kinds of roles will be.
[00:23:52] So yeah, looking forward a little bit.
[00:23:54] I feel like this is a sort of transitional film.
[00:23:56] I think so a little bit.
[00:23:57] Uh, I do want to mention, uh, also as far as past Roy Shatter rules, uh, I think part of
[00:24:02] what I liked about this movie so much is it really reminded me of one of my other favorite
[00:24:04] discoveries of, uh, this podcast season, uh, which is the outside man.
[00:24:08] Oh yeah.
[00:24:09] Which, uh, you know, Roy Shatter playing a very, very similar role in that movie where
[00:24:12] he is like, he's an assassin in that first, first off.
[00:24:16] And he's meant to be a like very competent one.
[00:24:18] However, in the outside man, he is constantly being outsmarted by, uh, Jean-Louis
[00:24:22] Trentin.
[00:24:24] Coyote roadrunner kind of situation between the two of them.
[00:24:26] Whereas in this movie, he is like legitimately a great assassin.
[00:24:29] He's very, very good at it.
[00:24:31] It's terrifying.
[00:24:32] Yeah.
[00:24:32] So yeah.
[00:24:32] But I, but I think in both movies, he like has this kind of like steely, like, you know,
[00:24:36] man, a few words just like does the job, very professional sort of thing.
[00:24:39] He gets a lot more dialogue in this movie than it does in the outside man.
[00:24:42] But, uh, I think has a lot of fun, like kind of playing around with that character
[00:24:45] type.
[00:24:46] Yeah.
[00:24:46] Yeah.
[00:24:46] It's interesting to see him.
[00:24:48] Uh, well, I guess he never really played the like hotheaded, insane guy that, that
[00:24:51] Adam Baldwin is playing in this, but, uh, right.
[00:24:55] Which, which is also the kind of thing that Adam Baldwin tended to play.
[00:24:57] Right.
[00:24:58] Yeah.
[00:24:58] Yeah.
[00:24:59] Yeah.
[00:24:59] Yeah.
[00:24:59] Yeah.
[00:25:02] Um, but also kind of a similar, like sort of hotheaded soldier guy.
[00:25:06] Right.
[00:25:07] Yeah.
[00:25:07] Um, so that's cool.
[00:25:10] I forgot where I was going with that.
[00:25:12] Uh, well, any scenes or moments in Cohen and Tate that stand out to you, Mike?
[00:25:16] I mean, we should talk about the ending probably, or really, yeah, sorry.
[00:25:19] What just before we get to the ending?
[00:25:21] Uh, there's, I think, um, one scene that stood out to me in particular is the gas
[00:25:26] station fight slash scene towards the end of the movie or, you know, final act or whatever.
[00:25:32] Yeah.
[00:25:32] Um, I believe this is where I think Cohen has shot Tate.
[00:25:37] Yeah.
[00:25:37] He shoots Tate and puts him in the trunk or whatever.
[00:25:39] And they end up at the gas station.
[00:25:41] Uh, and the kid is trying to signal to the attendant, uh, and the, the attendant sees
[00:25:46] something is weird and he goes back into the gas station after taking the money and like
[00:25:49] picks up the phone.
[00:25:50] And what the attendant notices is that there's blood dripping out of the trunk and it's getting
[00:25:54] on his shoe.
[00:25:55] Right.
[00:25:55] That's what it is.
[00:25:56] Yeah.
[00:25:57] Um, and Cohen is just like, bam, like just instantly, as soon as he picks up the phone,
[00:26:02] he realizes something has gone wrong.
[00:26:04] Yes.
[00:26:05] Shoots him, shoots the, uh, circuit breaker.
[00:26:08] So all the lights go out.
[00:26:09] Uh, and then just peels out of the gas station.
[00:26:12] Yes.
[00:26:12] Whoa.
[00:26:13] Like this guy is crazy.
[00:26:14] Uh, um, as if it's not the 20th person we've seen him kill in the movie.
[00:26:18] Right.
[00:26:18] I don't know that one in particular stood out as like blood, uh, cold, cold hearted,
[00:26:22] you know?
[00:26:23] Yes, absolutely.
[00:26:24] There's also, um, when, uh, they, they, at this point they've recaptured the kid.
[00:26:28] He, uh, you know, after, you know, they kill that, they headshot, he headshots the cop
[00:26:32] and like, they get the kid back in their car.
[00:26:33] There's a, a police bulletin that's like that that's out there.
[00:26:36] They know the description of the car, all that kind of stuff, the description of the
[00:26:39] guys.
[00:26:39] And then there's this like police stop.
[00:26:41] There's like a, a stop on the highway where everybody has to stop and like the police are
[00:26:45] investigating every single car.
[00:26:46] And, uh, the way code and date just like take it, take control of that situation where,
[00:26:52] you know, because they still have the kids, they have a bargaining chip.
[00:26:54] Basically they have, they can kill the kid.
[00:26:57] Uh, and so they get the cops guns.
[00:27:00] They get them to handcuff themselves.
[00:27:01] They get them to, you know, just like stand over there.
[00:27:03] And then Tate comes out of the car and starts shooting all their tires.
[00:27:08] Yeah.
[00:27:08] And then blows all the cars, presumably killing all those cops that were standing right next
[00:27:13] to the cars.
[00:27:14] But you don't see that.
[00:27:15] You don't see that all the cars that are lined up waiting to go through the roadblock,
[00:27:18] presumably.
[00:27:19] Yes.
[00:27:21] And just the total glee on Adam Baldwin's face that he's doing it is a, is really terrific.
[00:27:25] It's just full on psychopath mode is really fun.
[00:27:27] But anyway, the end of the movie, the end of the movie is insane.
[00:27:30] Um, so it was right after that gas station thing.
[00:27:34] Uh, it turns out Tate's not dead.
[00:27:35] Right.
[00:27:36] Right.
[00:27:36] And so, uh, at this point, like Tate had betrayed Cohen.
[00:27:40] Cohen shot him.
[00:27:40] He thinks he killed him.
[00:27:41] He puts him in the trunk.
[00:27:42] They peel out.
[00:27:43] Uh, and then they stopped the car and Tate like leaps out of the truck.
[00:27:47] Yeah.
[00:27:47] He like pulls over into like an oil field cause they're in Texas.
[00:27:50] Um, so like dispose of the body.
[00:27:52] It turns out Tate was wearing a bulletproof vest the entire time.
[00:27:54] Classic Tate.
[00:27:55] Uh, classic Tate.
[00:27:57] Uh, and so yeah, Tate leaps out of there.
[00:27:59] He's trying to kill Cohen.
[00:28:00] He's trying to kill the kid and the kid doesn't really know what to do because he knows Cohen
[00:28:05] is trying to bring him to the mob.
[00:28:06] So like if he goes with Cohen, he's going to get led there too.
[00:28:10] So the kid's just trying to run off on his own.
[00:28:11] Cohen finds him.
[00:28:12] Cohen like loses his hearing aid.
[00:28:14] Uh, the kid actually helps him put the hearing aid back in.
[00:28:17] Yeah.
[00:28:17] He finds it first and is like not going to tell him, uh, but realizes Cohen will at least
[00:28:22] protect him in this moment and gives him back the hearing aid.
[00:28:24] Yeah.
[00:28:24] Yes.
[00:28:25] Uh, and so there's a huge shootout between Cohen and Tate and the, like he, because,
[00:28:29] because he has the hearing aid, he can hear him.
[00:28:31] And, and I think the kid is handcuffed to Cohen, right?
[00:28:33] I think so.
[00:28:34] Yeah.
[00:28:35] Something like that.
[00:28:36] And then, yeah, but Cohen does eventually like shoot Tate and Tate like stumbles backwards
[00:28:41] and gets crushed by this giant machine and blood spurts everywhere.
[00:28:44] Yeah.
[00:28:44] And then it just sort of like a, goes to like a wide shot as they pull out and you see the,
[00:28:49] the machinery turning over cause it's like one of those weird oil pump things.
[00:28:52] Yes.
[00:28:52] Just covered in blood.
[00:28:54] Yeah.
[00:28:54] It's gross.
[00:28:56] And so the movie continues, uh, and Cohen, the kid are driving and Shider, Shider has
[00:29:01] been shot.
[00:29:02] Like he's like dying.
[00:29:03] Yeah.
[00:29:03] He's bleeding out.
[00:29:04] Yeah.
[00:29:04] Like he's, he's bleeding out, but he's driving and he's taking the kid.
[00:29:07] He's like trying to get him to the thing and they get off the highway and there's cops waiting
[00:29:11] for them.
[00:29:11] Like there's cops waiting for them in the city.
[00:29:13] Uh, and they get to the city, like the middle of this, like this, they're surrounded by cops.
[00:29:17] Uh, and Cohen says something like, like, how old are you again, kid?
[00:29:21] And the kid says, I'm nine.
[00:29:23] And I was like, huh?
[00:29:24] How about that?
[00:29:25] And then he lifts up his gun, shoots himself in the head, cuts a black roll credits.
[00:29:31] Movie's over.
[00:29:32] Yeah.
[00:29:33] Just like what?
[00:29:34] It's just what it's, it's such an insane way to end the movie.
[00:29:38] And, uh, I, I really admired it.
[00:29:40] It's, it's, it's, it's wild.
[00:29:42] It feels like if you were writing a movie and you're like, blah, blah, blah, blah.
[00:29:47] Movie ends, right.
[00:29:48] You're like, hadn't figured it out.
[00:29:49] And you were just like, yeah, he shoots himself.
[00:29:51] We'll figure it out before we shoot.
[00:29:52] We shoot the movie.
[00:29:54] Um, and they got to that day while they were filming and they were like, oh fuck, we never
[00:29:57] rewrote this last page of the script.
[00:29:59] I guess we have to film it that way.
[00:30:01] See, I, I really felt like it felt very deliberate to me.
[00:30:04] It felt like, um, that, that final moment where he asks the kid how old he is.
[00:30:08] Um, like that feels like such a strange way to end the movie, but he's also, I think it's
[00:30:12] also Cohen, like being like, man, I was outsmarted by a nine year old.
[00:30:15] Yeah, absolutely.
[00:30:16] Yeah.
[00:30:17] Talks about after all these years of having done this before, uh, you know, he mentioned
[00:30:22] and all of a sudden I've got a, the second gun with me, right?
[00:30:25] All that stuff.
[00:30:25] He's, he's the ultimate cool professional.
[00:30:27] Um, it just all fell apart cause this nine year old outsmarted them.
[00:30:31] He was too smart.
[00:30:32] He was too, he was too bad.
[00:30:33] You know, it's wild.
[00:30:36] Uh, yeah.
[00:30:37] I mean that, that cut to black and then just starting to roll credits is, uh, just one
[00:30:41] of the most like thrilling things I've seen in movies all year.
[00:30:43] Uh, it's, it's, I was so taken aback by that.
[00:30:47] It's so great.
[00:30:48] Yeah.
[00:30:48] Yeah.
[00:30:48] It rules.
[00:30:49] And yeah.
[00:30:50] Uh, otherwise, I mean, uh, you know, here's the thing.
[00:30:54] The movie is 85 minutes long.
[00:30:55] We've hit on most of the major beats already.
[00:30:57] Yeah.
[00:30:57] I will say, uh, Travis Knight is the name of the kid.
[00:31:01] Travis Knight is also the name of the CEO of Laker animation studio.
[00:31:04] Weird.
[00:31:05] Uh, and so when that opening crawl started and it said Travis Knight's name, I was like,
[00:31:09] wait, what?
[00:31:10] Um, the director of the director of Kubo and the two street.
[00:31:15] Um, but that kid, Harley cross, I guess, um, you know, he was, uh, uh, now like doesn't
[00:31:19] really act anymore.
[00:31:20] He runs like a nonprofit or something, but, uh, in the eighties he was in a lot of these
[00:31:23] like cult movies.
[00:31:24] And apparently this was like the fourth movie in a four movie run that were all about him
[00:31:29] getting kidnapped.
[00:31:30] What the fuck?
[00:31:31] That's crazy.
[00:31:33] Uh, which is such a niche to carve out for yourself as a, as a nine year old.
[00:31:36] Yeah.
[00:31:37] Good for him, I guess.
[00:31:38] Yeah, no, definitely.
[00:31:39] Um, yeah.
[00:31:40] Any other, uh, scenes or moments that you want to talk about and co-entat might get anything
[00:31:43] that stands out to you or should we just move on to the letterbox reviews?
[00:31:45] Yeah, I think we can move on.
[00:31:46] Cause sort of like you said, we sort of hit the big points.
[00:31:49] Um, it is, it is literally just, they kidnapped this kid and then drive back to try to drive
[00:31:54] back to Houston.
[00:31:55] So we kind of hit all the major stuff.
[00:31:56] Uh, so yeah.
[00:31:57] What do other people have to say about Cohen and Tate?
[00:32:00] Yes, absolutely.
[00:32:01] Well, here's a, a few letterbox reviews for Cohen and Tate.
[00:32:03] The first of which is from Justin Liberty, frequent letterbox reviewer of Roy Scheider
[00:32:06] films.
[00:32:07] He is, uh, he gave it a four star review and he said 30 years ago, the director of the
[00:32:12] Hitcher made a violent nihilistic near humorless buddy movie featuring a sociopathic Adam
[00:32:17] Baldwin and a cool Roy Scheider as hit men who kidnap an annoying kid similarities
[00:32:22] to Larry Cohen's perfect strangers aside.
[00:32:24] This is unique and mean, and you get to watch Baldwin eat a box of matches.
[00:32:28] Fair enough.
[00:32:29] Yeah, there it is.
[00:32:30] Uh, here's another four star review from Todd Gaines.
[00:32:33] Cohen and Tate is one of those movies made for me.
[00:32:36] It takes place mostly in a car.
[00:32:39] It stars two super Uber macho men and Roy Scheider and Adam Baldwin.
[00:32:43] There's explosive action and dark humor.
[00:32:45] Your viewing enjoyment might be decided by how much you can tolerate the little kid in
[00:32:48] the middle of a mafia kidnapping.
[00:32:50] He's no Danny Lloyd, but I laughed with him instead of at him.
[00:32:53] Director Eric Redd's work needs to be appreciated.
[00:32:55] We see a lot of the scenes that a little kid size.
[00:32:57] One scene in particular has our youngster looking in the eyes of the killers.
[00:33:00] It's shot in a way that must be terrifying for any nine year old.
[00:33:03] Adam Baldwin becomes the boogeyman and Roy Scheider is an angel for the devil doing
[00:33:06] Lucifer's work.
[00:33:07] I swear I'm not stoned.
[00:33:10] Uh, Scheider must have magic aim because he makes dirty Harry look like Barney Fife.
[00:33:14] He simply doesn't miss a shot.
[00:33:16] The FBI and police procedures followed throughout the film are flawed to the max, but I'm not
[00:33:20] going to punish the movie because I believe the film is more of a nightmare than an actual
[00:33:24] day in the life movie.
[00:33:25] Bill Conti score is creepy and pitch perfect.
[00:33:27] The runtime is just right so that it never runs out of gas.
[00:33:30] It features one of those kaboom motherfucker final shots.
[00:33:33] And I highly recommend to fans of tense thrillers.
[00:33:36] Kaboom motherfucker is a great way to talk about that.
[00:33:38] That is a good way to describe it.
[00:33:39] Yes.
[00:33:40] And also, yeah, the score is done by Bill Conti, who did the score for Rocky.
[00:33:43] Uh, yes.
[00:33:44] And, uh, yeah, very different score for Conan Tate, but I think that's a really great job,
[00:33:49] like a really effectively unsettling, uh, score in this movie.
[00:33:52] Yeah.
[00:33:52] Uh, and I got one more here.
[00:33:53] Here's the three star review from Liam Hathaway, though not his first writing credit.
[00:33:57] Eric Brad's directorial debut is what I'd like to refer to as the final of his unofficial
[00:34:02] Western tinge road thriller trilogy.
[00:34:04] Following the masterfully peculiar, the hitcher and the seminal Catherine Bigelow directed vampire
[00:34:08] deconstruction near dark.
[00:34:10] Conan Tate is perhaps the most ordinary and conventional of the three, but it's still
[00:34:13] loaded with enough wit white knuckle set pieces and combustible mind games between the titular
[00:34:17] mismatched hit men and their cargo, a resilient nine year old boy that kidnapped from witness
[00:34:22] protection.
[00:34:23] Though one of his characters key purposes is to offset the chilly professionalism of
[00:34:26] Cohen and excellently understated Roy Scheider.
[00:34:29] Adam Baldwin's Tate is a little too over the top for me, allowing insufficient insights into
[00:34:33] what is making him tick.
[00:34:34] But while the film also lacks a little much needed stylistic flair, the great pacing,
[00:34:38] its trim runtime and almost real time duration convincingly enables Conan Tate to feel strangely
[00:34:42] like a lived in experience.
[00:34:44] You're with the trio every step of the way.
[00:34:46] I also really dug the abrupt shock ending.
[00:34:48] I'll definitely come back to this at some point and, and inevitably bump it up to four
[00:34:52] stars.
[00:34:54] Yeah.
[00:34:55] I mean, I think I do agree that Tate does feel pretty one note.
[00:34:59] It is, which is that he's a bloodthirsty psychopath, right?
[00:35:01] He sure.
[00:35:02] Yes.
[00:35:02] But I think he plays very well against Roy Scheider.
[00:35:04] Yeah, definitely.
[00:35:06] For sure.
[00:35:06] Yeah.
[00:35:07] All right.
[00:35:07] That's it.
[00:35:08] I want to tape baby.
[00:35:09] Uh, no, I, I really, really loved this one.
[00:35:11] It's a really, really like nasty piece of work.
[00:35:13] That's a, that like to the degree where after I watched it, I was like, should that have
[00:35:17] been allowed to exist?
[00:35:18] I don't know.
[00:35:19] It was great.
[00:35:20] It's who, yeah.
[00:35:21] Who, what, what kind of madman came up with this?
[00:35:23] Yes.
[00:35:24] Who let this happen?
[00:35:25] Uh, but, uh, all right.
[00:35:26] Mike D where can we find you online this week?
[00:35:28] You can find me at MD film blog on Twitter and letterbox and blue sky.
[00:35:33] And if you'd like to donate to support the show, you can do that on our Kofi page, which
[00:35:37] is Kofi.com slash Mike and Mike pods, where you can donate $50 to pick a topic for Mike
[00:35:42] and Mike go to the movies, choose a bonus episode.
[00:35:44] And we'll tell, we'll talk about whatever you want.
[00:35:45] Um, and if you want to merge, we have merch available on our red bubble, which is Mike and
[00:35:49] Mike pods.
[00:35:50] Red bubble.com.
[00:35:51] Absolutely.
[00:35:51] Also one last thing.
[00:35:52] This movie looks awesome.
[00:35:53] Oh yeah.
[00:35:54] It does.
[00:35:54] Just wanted to throw that out there.
[00:35:55] Uh, the, the scene where, uh, Adam Baldwin blows up those cars and it's like his silhouette
[00:35:59] against the explosive, like night sky.
[00:36:01] Incredible.
[00:36:02] So great.
[00:36:02] Never forget what they took from us.
[00:36:04] And we're talking about Cullen and Tate.
[00:36:05] Yeah.
[00:36:08] Uh, you can find me online at M Smith, phone book on Twitter, Mike Smith, film a letterbox
[00:36:11] radio, Mike sandwich, Instagram.
[00:36:13] Uh, thanks so much for listening to complete works.
[00:36:14] I'm Mike Smith.
[00:36:15] That's my decretio.
[00:36:15] Don't forget to rate interview the show on Apple podcasts or any other podcast app.
[00:36:19] And if you want to contact us, you can tweet at us at complete works pod.
[00:36:22] That's W R K S no O in the word works.
[00:36:24] And you can find the rest of our podcast and Rapture press alongside many other podcasts,
[00:36:27] well-cansed comic books and movie news and all that good stuff.
[00:36:29] Our theme song was created by Kyle Cullen, who you can reach for your own podcast themes
[00:36:33] at Kyle's podcast themes, gmail.com.
[00:36:35] And our logo was designed by Mac V or at fearless guard on Twitter.
[00:36:38] Next week, Roy Scheider co-stars with Kirk Cameron in a drama called listen to me.
[00:36:43] So yeah, we'll see how that goes.
[00:36:45] That was before we knew, I think, I don't know before we knew what about Kirk Cameron
[00:36:49] and what he's like.
[00:36:51] Yeah.
[00:36:52] I just, yeah, 89.
[00:36:53] So I'm sure that's way before, uh, we knew what Kirk Cameron was like, but yeah, we'll
[00:36:56] talk about it next week.
[00:36:57] I think it's probably going to be whatever.
[00:36:59] It's, it's, it's not going to be a Cohen and Tate.
[00:37:01] I'll tell you that few things ever would be.
[00:37:03] And remember to check out our other podcasts, Mike, Mike, go to the movies for all kinds
[00:37:06] of other movie related stuff, including recent releases, ranked lists, general discussions,
[00:37:10] and a lot more.
[00:37:11] Thanks so much for listening guys.
[00:37:12] And thanks for taking a ride on the Scheider side.