 Do you know what today is? It's a Wednesday. Oh. Makes sense. It's poetic. Deeply. If you're a stupid to react to the idiots, I'm Corbin. What's your name? My name is Garen, that's my name. If you're new to our channel, go and check out the like button and subscribe. I can ring that little bell to be part of the notification squad. Please follow us on Instagram and click the bell for more juicy content. It's so juicy. Whoa. He was almost like he was in the room with us. Crazy man. So today we'll be doing a movie review. Review! We have a highly requested one after we watched a trailer. It was true. It's called A Wednesday. And we talk a lot, so get ready to sit here and enjoy your morning with us. Yeah, roughly about 20 minutes. So enjoy your chat. And here we go. So, Wednesday, want to read the synopsis for me? I will read the synopsis for you. A retiring police officer reminisces about the most astounding day of his career. But a case that was never filed but continues to haunt him in his memories. The case of a man and a Wednesday. That wasn't on there. You added that. No, that was a great book. Oh, it is. You almost sounded like Voldemort there. It did a little bit. It did a little bit. But it's directed by NERD. You pronounce that one. What were you going to say? You didn't finish it. Nope, don't want to offend him. Mirage Pendi. And he directed a Wednesday special 26, M.S. Donnie. Right, and he wrote it. Yeah. And it's starring... Anupamkar. And... I was going to say Noazanin. It's not Noazanin. I know his face. It's the dad from the Deborah film. Exactly. Naziruddin Shah. Yes. Naziruddin? Those two. And the film opens basically with the synopsis of the... I'm getting just read. I think it goes word for word. It comes right out of the guy's mouth, sitting on his chair. And so this was kind of fed to us as the reason to watch his film was for the actor. Correct. Of this film. I totally 100% agree. Especially him. Yes, the dad from Deborah. The dad from Deborah. But yeah, we can get into that. This film is quite short. I mean, not for American films. No, no. But for Indian films. Indian stuff we watch. Whoa, this is... I know. It's funny, now that we've been watching Indian films, what did I watch? I watched High Anxiety, the Mel Rooks film. Which is just under, I think, 90 minutes. And also Get Out is 90 minutes. Yes. I watched those recently and I was like... Wow, I'm not even seven to my chair yet. This one went quick. Yes, it did. And at first, this was one of the first ones I watched. I probably would have been more annoyed than I went out to be. Because there's... I have more annoyances than I do pleasures. I mean, don't get me wrong. I enjoyed this film. And I did, especially towards the end. Yes. And that's basically the reason to watch it. His monologue. His monologue. That's the reason to watch it. It was an incredible monologue. Yeah, my two favorite things about the film are his acting and his final monologue combined. Because that's one thing. And I think the premise is brilliant. Yes. I love the premise. It was remade in a Hollywood film. And I want to see that because it's got Ben Kingsley. Ben Kingsley. And I think it's called a common man. Yeah. I want to see the remake. But yes, the film itself, I think it had to have been a really, really low budget. I also thought this as I watched it and I researched it afterwards. There's several things I researched afterwards. That this was his first directorial undertaking. Oh, it was. And it felt like it. Yeah. It definitely had problem and it definitely had budgetary. It did. Well, and I don't know if one of the... Well, we'll get into this in a second. Because there's one of the things that I know were a challenge with the score, which I found out later on because I had challenges with the score. Yes. The score. We'll talk about that. Yeah. So, but yeah. So go ahead. So I felt like it had a lot, which makes sense. If he was the first time director, he probably didn't have a lot of money to work with. Karen? Yeah. And so a lot of the stuff, obviously, we didn't get to see a lot of people die on screen. Yeah. A lot of the guns looked fake. Yeah. Even the lighting. Some of the lighting on some stuff. It bothered me. But at the same time, I'm like, hold up. If it's a first time directorial debut and it's a lower budget kind of thing, they're not going to have the money to do all the bells and whistles that you would have in like a Padma Vada or... Yeah. Tristrami Masannani. It's not fair to compare that. And then obviously a lot of the actors who aren't the main two weren't great. No. But the main two are phenomenal. Solid. I loved both of them. Yeah. Especially the Debra Dad. But I knew that in the Debra film. Yeah. The two guys, the head of police and we keep calling them Debra Dad. Those two are solid. The legendary actor. Yes. Whatever his name is. Masirin and Shah. Yes. You're amazing. I knew it in the Debra film. Right. Small, rolly head. Yeah. He's good. That guy's really good. Yeah. So yeah. He is, I'd love to see more of his stuff. And his final monologue, that final phone conversation. Yeah. Is why you watch the movie. Everything builds up so you can reach back. And so I think we can talk about that because... By the way, if you're seeing this, go with it. Yeah. Obviously you're way too late. Yeah. Do it now. Um, they, I think the whole, like we said, the end of it is the reason to watch it. And I think we, like we said, we had problems budgetary-wise. So that had some other things we'll talk about. I think that has a lot to do, like most of the problems with the film has to do with the lack of budget. The acting. Potentially. Yeah. Potentially. You have bad acting. The best actors. Right. The breath props. The best CGI. Right. So that can all be equated to that. So I don't really want to delve too more into that. Right. I don't want to hammer those things. The score. Okay, let's talk, you want to talk about the score? Yeah, let's talk about the score. Okay. I don't understand what he was... Maybe it's just, maybe he had to buy just music offline and just put it in there. Okay, so here, I know a couple of things now because I saw the film and the score. My first impression of the score when I was watching it was, this thing's freaking clunky. Mm-hmm. What the heck is going on? This thing is just, it's bouncing all over the place. Mm-hmm. Then, we got on the bus with the four terrorists. Yes. Any of those notes ring a bell, Corbin Miles? Did you recognize that score? I didn't recognize the score. Oh, I did. Why? What was it from? It's flat out lifted, not just there, but then later on, right after the blowing up of the terrorists. Flat out the recording. It's not like they took the score and re-recorded it. Mm-hmm. He took the actual score from the Passion of the Christ and just put it in. You researched it? Oh, I didn't need to. I've seen the Passion of the Christ. I saw it 11 times in theaters, and I've probably seen it another 10 or 11 cents. Just a good popcorn flick. And... This isn't a name drop. It's just the reality of the thing that I'm dealing with here. The guy who plays all of the woodwinds in that score is his name's Pedro Avestos. He's a friend of mine. I had an extra added benefit and bonus to want to pay really close attention to the score because I wanted to listen to Pedro's work and knew about him working with John Debney and everything that they did. I know that score so well that the moment it started to play, I not only knew it was Passion of the Christ, I knew what scene he was using it from. He took the music from the scene where Jesus is carrying the cross and she sees him and has the remembrance of him as a little kid and runs to him. And then he took music from the Last Supper sequence later on. Now I researched because I was like, where's the controversy on this? Did he get permission from John Debney? Does anyone else know that? Apparently no one else knows that this was lifted out of the Passion of the Christ. But I do know this. I want to give him credit because he talked about this, the composer. Sanjay Choudhury. Sanjay did a 17 minute interview that I watched. And in that interview towards the end, the composer of a Wednesday, talking about how he scores films and his intelligence and he's the son of a composer was off the charts as far as knowing how to make a score. And he talked about a Wednesday and he said that was really challenging for a lot of reasons. First of all, he had to write a lot of the score with no film to work with. That shows that. Hence the clunky choppiness. Like sometimes it was just like this somber moment and it was like... Right, he just gave a music and the director placed it in a lot of the spots. Versus getting to actually... I think that's a budgetary thing again. It's a huge budgetary thing. And it wouldn't surprise me if either he or all composers, if you didn't know this, most really good composers, whether it's India or America, I know this because Pedro works with Hans Zimmer, they've got a team of writers who will write their stuff and they'll work with them and they'll plug music into stuff. He very well could have had one of his people just find something to use and got permission from Debney or whoever owns the copyright on that. But for me, it was a major like, are you serious? You're using something from the passion of the... Which, that happens in trailers. When they haven't scored a film, they'll use music that already exists and you'll go, I know that from somewhere. But in the actual film, that's not right. Yeah, I'm wondering, let me see if IMDb says the budget of this at all because I think it had to been real low. Yeah, and I'm assuming they got permission to use it and they just needed to place the music. But that makes a lot of sense though. Yeah, about the score. Because a lot of it just didn't fit. At all. Like at all. Not just the style, but the placement of it. It was a good scene on the bus though, with the terrorists and the guys. Part of the reasons, because that's such a great score underneath. It had John Debney and Pedro playing. I did like the main terrorists who they saved and then later. I thought he did really well. Yeah, he did do well. Okay, and now let's talk about Psycho Cop for a second. Oh yeah, he's a little strange. Okay, first of all, is it really scary that he slapped so hard? I mean, why? Ooh, wow, don't... Here he comes, he's gonna slap me. He was a lot of, like, a member in KGF, when they just freaked out whenever he came in. It was a lot of that because they were like, I would have preferred that. No, when he was reading them on the thing, that's what it was like. I think it was dubbed though, I don't know why they were so scared of him. I never really got that, why they were so scared of this guy. I know, I mean, I know he's like a loose cannon, but it's like... What's he gonna do to you? He's gonna slap you nonstop. I don't know. Now the other thing that I just couldn't handle. Okay, again, this goes back to budget. But the guy's supposed to be a detective, right? Okay, did you notice when he got on the roof, did you notice how he was handling his gun? I mean, come on, if your production doesn't have the budget to have people to train your actors how to use handguns, as an actor, as an actor, man, please... Now maybe they did the research and he's like, okay, I'm from the streets, so I'm gonna handle the gun the way the gangsters do, because the way the side handling of the gun like that, the side handling of the gun like that, that is stuff that's seen in like the gangsta movies. Don't ever say that again. No detective for cop is gonna hold their gun like this when they're coming around a corner. The same thing happened with all the extras when they were transporting the terrorist. All of them around him had no idea how to... Also they looked like prop guns. Yeah, they did, but then none of them knew how to handle it. But once again, budget, budget, I get it, I get it. The story was great, but let's talk about the end. Let's get back into the story, because that's the meaty thing and that for me was why I can forgive the score, I can forgive the bad, the budget stuff, as a whole. The story's whipped. The story's phenomenal. The story's fantastic. I enjoyed the film because especially of the last part of it. The last part of it is worth the price of admission. Yeah, because he does such a great job with that model. Also, it's just, you don't know what to think. And that was actually shot really well. I didn't understand how he knew where he was in the end. Do you know? How he tracked where he was. I don't know how he figured it out. He just went to his apartment at the end. Maybe I missed something. Yeah, me too. I must have missed something too. I was confused at that, how he went in and I was like, oh, is he gonna kill him? And then he was like, thank you. Yeah, I didn't know if he was gonna pull a sartage and not and be the righteous guy and then not be the right... But I just didn't know how that's... How do you know where he was when I got him? And also, how did the sketch artist draw an absolutely perfect picture of him? Yeah. But I did enjoy the ending because it left you with questions like how would you feel in this scenario? Well, let's talk all about that. I love it when films do that. I do too. Because, you know, like... He's being a common man who's tired of these awful people. Did you see that coming by the way? Did you see that twist? Did you think he was a terrorist, free and terrorist? I saw something coming. I thought he was just a guy free and terrorist and they were gonna have to stop the guy. I didn't see that twist. I think I called it because I was like, this guy is so unassuming as a bad guy. He doesn't seem like a bad guy. He doesn't act like a bad guy, which is another great part of the story and his acting. But I don't think I called it specifically but I figured something like that was coming. I was like, this is not the whole story here. Right. But I love the quenundrum at the end about... Yeah. Is this a good thing? Right. He says in the end, I don't know if it was good. I don't know if it was bad. Right. But then he went there and thanked him for doing what they couldn't do. Right. As cops. Right. Which on the one hand... You don't know. He's like, these are people. You're not supposed to murder people. Right. But these are terrorists. They deserve to die. So do you take justice into your own hands? Yeah. It's like the vigilante kind of thing, Batman kind of thing. And I love several things about the final, the final last 15 minutes, which is mostly comprised of that phone conversation. Yeah. Great. Hard to carry a scene like that, which he did. Yeah. And beautifully directed. It was where I felt the director really put all of the focus and the attention into... You didn't need to budget anymore. You didn't need to worry about lighting. He's just on a building. Just film him talking. Just let it roll and just capture him acting. With an actor like that. Yeah. You've got to do that. Capture him acting and capture the other guy on the phone. But the writing I thought was so freaking fantastic with... It's my ringtone. It's going to be copyrighted. It's true. It's true. Sorry. The conversation of him talking several things. First of all, on the train. When he asked him, he says, did you lose a loved one on that train? Mm-hmm. And he says, there was a young guy. And he's talking about all of those people. And how when he got on the train, they were all gone. It's like, do I have to... Does it have to be a loved one for me to... For it to impact me? Mm-hmm. Like when we had the shooting here at Borderline. Mm-hmm. That hit home. You guys probably didn't know about this, but you may have heard about it. I mean, you hear about shootings in America of what, every six, seven hours? Mm-hmm. And there was a shooting here very close to us. And at Borderline, it hit home. Because that's where Ashley and Harrell went every Wednesday night. They just happened to not be there that night. Mm-hmm. And new people who were there. It shouldn't have to get that personal. Yeah. For you to take it personally. But then it's also the question. It's like, is killing them the right answer? Right. Is that an option? I love that they didn't definitively say, you know... Right. They left it up to us. Yeah. Which is, I believe, what film should do. Absolutely. Should have left it up to the people. And they have it tied and above. Even the thing where he said, my name is... Yeah. And he said, I'm not going to give you his name because if I give you his name, you'll tie him to a religion. Mm-hmm. And I love that they wouldn't let that, you've got to decide for yourself. Mm-hmm. Maybe he was, maybe he wasn't. You don't know his motivations entirely. The bottom line is, talk about it, is that... I got to say, there's something very satisfying to think that someone would just take the justice into their own hands when the law enforcement and the military or anyone else isn't getting it done. And you're seeing innocent people. There's something very satisfying. You know what they should do about that? The same director who did Arjun Reddy is doing the Kabir Singh. Oh, okay, yeah. It's the same director. Oh, really? Same story. Right, I knew it was the same story. I didn't realize it's the same director. It's the same director. They should do that with him. Now, like, since he will now have a budget. Yeah. So redo this film and make it how it was supposed to be made. I don't... I mean, clearly there's a market for it. Well, that's why I want to see the Ben Kingsley one, because the story is so good that I'd like to see another incarnation of it. And Ben Kingsley will be phenomenal. I'm assuming he plays the common man. And depending upon the direction, and they'll have, clearly with Kingsley, it'll have a higher budget. But that, for me, this thing, I'm with you. As nitpicky as I want to be about the lighting and the score and the holding the guns the right way. I ended up enjoying it in the end. Me too. I ended up enjoying it. And I would tell anybody who's going to watch this and say, would you please forgive the fact that this is a directorial debut who probably had no money. Think of it like almost, almost like a upscale student film. I was exactly what I was thinking. Think of it that way. Not like an independent that has no money. No, no, no, no, no. But like an upscale student film that has some phenomenal acting. An AFI thesis film that they get heavyweight people to do something in that is worthy of accolades because it is. But it doesn't have the budget to do everything it wanted. Yeah, and you got it. I'm sure a lot of those actors that were like, oh, they probably never acted. Maybe did it for free, you know. So they get a pass on all that. Yeah. But the story itself is the reason to watch this film. Yeah. And the acting of those two mainly. Yeah, I want to see more of him. For sure. He was apparently a League of Extraordinary Gentlemen, which I, I mean, I saw that when it came out. But for a split second, I thought it also said he was in Ishtar. I'm sorry. But he wasn't. He wasn't. Do you guys know Ishtar? Oh. Don't watch it. But yeah, please let us know what you think of it. Let us know what we should watch and review next. Masiruddin, I think. Masiruddin's shot. Yeah, he's so good. Yeah, he's phenomenal. I want to see a lot more of his stuff. Me too. Let us know what other stuff of his we should react to. He's in the upcoming film. Oh, Tasket Files, which... The reason we haven't watched it yet is because it's not playing anywhere near us. It's not here yet. It's here, but the closest theater is like 50 miles away. Exactly. Sorry guys, I'm not going 50 miles for a movie. No.