 Oh, I guess it looks kind of the same. By the way, it's her. My car stupid rakes is the editor of Corbin. I'm Rick, also Instagram and Twitter. What's up, Juicy Godfrey. Juicy. The show, Juicy. Bang! Also, first channel is in the description below. Today, we're doing a movie review of the, I believe it's actually 2021 film. Love. Not ironic. I think it's 2021, unless it came out. It says 2020, but I think it came out this year. I think so too. It might have festivaled in 2020, but I think it came out this year on Netflix, directed by and written by, say his name? Khalid Rahman. And then starring Shine Tom Choco and Rajasha Vijayan. Where did we see, was it just the trailer that we saw? It was. Who? Shine Tom Choco. Him? Uh-huh. Yeah, he looks familiar though. But I think it was the trailer where I pointed out his name. When we saw the trailer for this, not too long ago. Great name. It is. Shine Tom Choco. Yup. But it's hard to do this film without a spoiler review. Yeah. Just, it's 90 minutes. It's on Netflix. Give it a watch and then come back. Normally with new films we like to do, but this is one that everything you're gonna talk about is a spoiler. Essentially. Pretty much. It's one of those films. So if you don't want to be spoiled, then just watch it for 90 minutes and then come out. And then let us know your thoughts. So Rick, your initial thoughts, please. I don't like it when I have to do reviews about movies I don't like, but I didn't like it. Why? Sorry everybody. I felt, I had concerns right at the outset. My concern right at the very beginning with the argument scene, I thought, oh please tell me we're not going to have something that's more style than substance in terms of, not that I don't have a problem, I love when things are stylized, but I just found some of the concepts and some of the execution, not on the technical side. I felt, I actually remember writing on my thing, continuity people did a spectacular job with lighting, with the beverages and the bottles. I thought there were some really interesting choices with the director and the cinematographer, but when it came to story and the acting, I just couldn't get engaged. It was hard for me to believe. And I found, I was eventually at a place and maybe you can help me understand it if you did and liked it. I, when all was said and done, I was like, okay, so what did I even just watch? What just happened? Was it, did it really happen? Did it not really happen? And I just ended up confused and frustrated and never engaged. I loved this film. This is going to be a different review, I suppose. Yeah, good. No, I love it when we don't agree about stuff. I loved this film and everything that you apparently hated about it, I loved about it. I think the fact that you had questions at the end is a wonderful way to end a film. And also, I wanted to watch it immediately after because I'm pretty sure there's a bunch of context clues of what actually happened in the end. It's almost like, obviously it's not as big as a Nolan film, but it has those style, what it's trying to do. Did you, did you, you saw Tenet? Yes. You liked it? It was okay. Yeah, I, Tenet ended and I was like, okay, I don't even know if Christopher Nolan knows what that was about. This, I think I knew what it was about. So it's okay. I didn't really. Engimicate me. I didn't really have an issue. Well, we could talk about the other stuff first. I actually thought I enjoyed him and I thought, especially playing a dead woman, she did a really good job. Actually, I actually disagreed about that one. One of my favorite, well, because I don't think you understood what they were doing. I guess not. She wasn't just playing a dead woman because she wasn't actually dead. So there was a whole bunch of stuff going on, but I thought one of the best parts about this one was actually cinematography. I thought the way, the stylistic, what it did, the director and the cinematographer decided to go with, not just the beginning fight scene with the slow-mo. I'm talking like, some of my favorite shots were some of the bathroom shots where he sat down and he was looking at her. I thought they were some absolutely beautiful shots and thought-provoking shots. So that's one of the things I really, really enjoyed. So the whole aspect of it, and tell me what you think this film was about. I honestly don't know. I don't know what the point of the movie was. Like, at all. Like, you don't have a guess. I can point out some things that I think were trying to be stated, which was obviously the, the fact that it's called love. And the whole, everybody's cheating on everybody. And that this is the, the, the example of what love isn't. But if you love people, you don't say these things, you don't think these things, you don't do these things. You know there was only two people in the film, right? Yeah, but again, that wasn't clear enough for me. Well, I think it wants you to think. Well, there are things that are thought-provoking, thought-provoking in the make you want to think. And then there are films like Tenet that show you stuff and you're like, okay, what was that? Yeah, Tenet, I'm not here to talk about Tenet. I, Tenet I thought was an average Nolan film. But anyways, this one, I completely and utterly disagree with you on this because, so what do you think this, I can't, I don't know where to start. If I don't know where to, what, what, you just thought this film was about people cheating on each other and. I thought this film was, you know, at the outset. The name is obviously Iran. Right, there's obviously irony to the name. Which you get that right at the very beginning. The fact that they're, it's, you know, the fact that they're arguing and he seems at the outset to have killed her. And then obviously people appear and then don't appear. So you're like, okay, these are either figments of imagination or they're representative of other aspects of somebody's personality. To which I didn't even know, okay, what I'm seeing actually occurring. Did she really come back to the door? Or is she really dead in there? Is this a figment of his imagination? Is this a fantasy he's had about what he wants to do to his wife? Or at the end you think to yourself, okay, this wasn't anything going on with him. This is what was going on with her. And it never answered those questions for me. I don't even think it wanted to answer the questions for me. Well, I don't think it wanted to answer every question. Absolutely not. I think that, you know, I love those style of films that leave open for dialogue in the end. But the whole thing that happened, which is my interpretation of it, one, the two guys who aren't even named are his subconscious. So the things you saw happening were not ever happening. So they did happen. They weren't happening in his room. Okay, so let me ask you a question. If that's the case, I would have liked to have seen some things that would have communicated that to me in a way where I would have had some signals about it in terms of... It was a lot. There were not in the continuity aspect. Remember I applauded the continuity? The continuity was congruent with everybody there in the physical realm. So like the bottles of alcohol, because he was playing it out in his head. So basically here's what I thought happened, right? Essentially in the beginning, he probably just got word that she knew that the affair was still going on, correct? That's what I'm assuming, right? So this is... Wait, wait, wait. You mean when she shows up angry? No. Yeah, right at the beginning. At the very beginning. Before the fight happens, right? Well, sorry. So the beginning doesn't really start at the beginning. This is just where I'm interpreting it. So in the beginning, he probably just got word that she still knew that the affair was going on, which his subconscious, that was actually an affair that he had, right? Okay, which beginner you're talking about, the beginning that you perceived, or the beginning that we were presented with? Presented with. That is the... The present that we were presented with was his subconscious, in my opinion, going into hyperdrive, trying to figure out how he could get out of the situation that she probably just found out about, right? So like let's say like I was cheating on my wife, right? And then she got word somehow about it and got all this evidence, right? And then I just got word that she had found out, right? And so the beginning to me is his mind, right as that happened, going to hyperdrive, going through all these different situations that would happen. So she comes home, what am I going to do? And so at the beginning you see her, him kill him. And the rest of the time is him trying to play out if he does do that. What it's going to look like. What does he do? And the two people that he's with obviously are... They were very... It was almost like inside out in his head, right? He was the one at the beginning with the bald guy, right? Right. He was essentially his subconscious trying to play the victim. Right. And so he was like, I'm going to kill myself, blah, blah, blah, blah. He's a weaker person. And then later that person actually turns out to be the psychotic one, right? Because that's his real self, right? It's essentially because you saw... I'll get into that in a minute. There's a lot going on, which is why I like this film. The other person, that situation actually haven't, except he actually had affairs multiple, multiple times. But that person was his more confident self. Right. And then once he figures out everything, it's actually the weak one that wants to run away, doesn't take responsibility for anything. Right. And so every situation is just him trying to play out what he's actually going to do when she does come home, which is why you see him and the other guy have the same conversation when she actually does come home. Because the clues I was talking about, the conversations he had with the guy who's talking about killing himself a bunch of times and the conversation he had with the other guy who was cheating all came again and the end conversation with the girl. And so these are all the things, right when she came home, which I believe was the real time she came home. I'm sorry, ADD just kicked in. I was trying to think about like squirrels or something like that. No, so when she came home the second time, you saw him one, which is really the first time, which is really the only time she actually came home, in my opinion, trying to obviously play the big downplay everything. Hey, honey, everything's fine, blah, blah, blah, blah. And then trying to almost play the victim. And then if you remember in the beginning, she tried to leave because he thought she was going to do that. And then in the end, he was the one that was trying to leave because he was trying to actually place all the blame of everything onto her. And you also, it was a great little context of he is a dick abuser because she had a bruise on her eye coming out of the bathroom when she actually came home. That was a little context thing there. But what the conversation actually is, is what, when did she actually kill him? Which I love that they left that over to interpretation because she still had the same mark as she did at the beginning. Right. And so what I think happened is he might have actually hit her, but she didn't die with the iron. Yeah. No, no, no, no. I think because in the beginning of the film, he slammed her head into the picture. At the end of the film, he hits her in the head with an iron. Yeah. So which one did he do? One. That's one of the beauties of the film. One doesn't let you know. I think what happened is I think he actually did slam her head into the to the painting. Okay. So what was the hitting her in the head with the iron? Hold on. Hold on. I think that actually happened. I think she was probably on the floor. And then she was probably going to figure out what to do next. Maybe put her in the bag again or whatever and really do the situations he was going over in his head, which basically the first half of the film before she finally officially comes in. And then she's up and I think she probably hits him with the iron. Okay. So why do you think that? I think maybe that's one of the things I can't figure out. I don't know if it's his subconscious or it's actually her now reliving, but there was a situation to where it almost intercrossed because these two guys were fake, right? Mm-hmm. And then the dad came in and he thought that was also part of his subconscious that he was going through, but she actually said he came over. Right. So that was real. Right. So he had actually been telling she had been telling her father about she had she kept getting abused and all this kind of stuff. And so I think basically overall what happened is she was getting abused. And then she finally killed him in the end as in self-defense. Okay. Yeah. Which, and look, I guess for her the proverbial straw that broke the camel's back was the fact that she was pregnant because we haven't brought that up. No, she might have just got strong. She was tired of being abused. That happened to millions of women around the world. Right. I just, what was the point of us knowing that she was pregnant? Well, that probably went along with one. I had that, I don't know, was she pregnant? That's how the film started. I know, but that was his subconscious. But why even have that if that's not... Oh, no, she was pregnant. She was pregnant because she came in the second time. She was pregnant because she shows him the imagery. That might have been, she was like, I'm not going to live with this anymore. I'm pregnant. So that might have been the straw that broke the camel's back because she said, I'm not going to have you abusing me and probably my child when he comes along. And then at the very end, obviously these were assuming you've seen this. So and then at the very end, she drives straight toward the police and the police officer asks her, ma'am, are you okay? And she just says, I killed my husband. She's confessing to the murder. It was, he was in the trunk. Yeah, I know. But why do that? Because one, she's probably like, I was doing it in self-defense. And or she's, she killed somebody and she's doing the right thing and turning herself in. I don't know. That's not confusing. I don't know. It was to me. I was like, why would you kill somebody and then just drive to a police roadblock and look at them and stay asking, are you okay? And you say, I killed my husband. Because she wasn't doing it maliciously. She did it probably in self-defense. She has all the evidence that he was an abuser, a domestic abuser hitting her all the time. And so she's in the right. So she took his body to the police? Yeah. All of these things are just like, I have zero idea why you're confused about. Like I understand the confusion of the film and having questions at the end, which I love. I love having questions at the end of a film. I could have watched it immediately after. But all these little things, I'm not understanding why those would be an issue for you. Because they just don't make any, there's justification for them. What's the justification? Everything about believability, both in screenwriting and in execution with directing and in execution with the acting is about the why and the justification for it. And there were a gazillion things that I was trying to understand. Why is this happening? And I don't feel like it was left untold in a witty way. I felt like it was left untold in a just vacuous way. I can't think of any scenario in which I would believe, unless for example, maybe somebody was in shock. But I didn't even garner that there was any level of shock. Because we didn't even know that she killed him until she confessed that she did at the end. And okay, so if she did kill him, we're left with the question of, okay, why did she kill him? He was hitting her and abusing her? Well, yeah, but that is only an assumption. Because what we have is... No, you have proof. Because like I said, when she came out after she gave him the thing and she came out of the bathroom, you saw like clear massive bruise on her face. So there was clear evidence that he's... He does this. And he does this a lot. And then she has the mark on her head. So there was obviously hints of a altercation. Right. Happened. So case in point, in a situation like that, it's hard for me to believe that an abused person would kill the person who was abusing them. And then rather than like go straight to the authorities or call the authorities or call a family member, would actually then take the body and bring it downstairs and stick it in the trunk and then drive to the police and do what she did. That just makes no sense to me at all. You're not this person. That's the story you wanted to tell. But have you ever heard or seen any story in which something like that even comes remotely close to happening where someone does that? People bringing bodies to the police? Yeah, that happens a lot in cinema. Name one instance. Right now I can't, but that's happened before. Where somebody killed somebody and brings the body to the police. One, that was the complete end of the film. I know, but it's the payoff. But it doesn't matter. Let's say she left him in the apartment and she said, I killed my husband. What difference does it make if she brought him or not? That makes a huge difference. Intention. Why? Always back to justification and why a character does something. Because he was an abuser. That's the reason she killed him. That's not why she stuffed him in the trunk and drove him to the police. So your big, big problem with the film was the fact that she just brought a body to the police? No, that's not my big problem with the film. That's a problem I have at the film among many problems I had with it. The fact that you have to go to as great a length as you do to try to explain what you saw. Well, because it's one of those films that makes you... This is a film that doesn't want to spoon feed you. So it's giving you a bunch of stuff so you can figure it out. Neither did Inception, but I didn't have to walk away from that with a sense of what the heck just happened and why. Well, I didn't walk away with that. So I think that's a you problem. It very well may be. I just found the... I found it to be more of a concept than an actual believable story. What's wrong with the film being a concept? Tenet. You came up with one film that you didn't like. No, there's a lot of boyhood, concept. No, that's one. Every film is a concept. No, when all the film is as a concept. No, it's just because you didn't understand it doesn't mean the entire film is just a concept. Well, there was a multiple things that I've just explained to you why it did it and what actually happened. Right. And then you're just you're upset that she brought a body to the Belize. No, no, no, no. You're harping on that as if that's the only thing that mattered to me. And I never said that was the only thing that mattered to me. Well, that's what you were harping on. We were talking about the end scene. And that was one moment among many where I could not comprehend what the justification was or why. And I know that what it seemed to be for me was this is the payoff. This is what we're going to do at the end of the movie to make a twist. Versus something that drew me along the lines and had me lead me to the place where I recognized in an intelligent way something was going on that made sense. Not just as a waiting for Godot kind of allegory, which this wasn't. This was supposed to be something that was grounded in a specific kind of way. I don't know about that because most of it was in his subconscious. So it's not it wasn't grounded. No, well, it was friends are friend one and friend two. They don't even have names, which is fine. I get that part. Well, we haven't even gotten to the other aspects of it. You liked were you particularly impressed with the acting by everybody in the cast? Yeah, I thought it was good. Thought it was good. Yeah, didn't think it was really good. No, but okay, there was nothing in this that was I didn't think called for that because once again, it was mostly in his subconscious. So which is why the whole time, for example, his calmness when these friends arrive is justified by the fact that what's going on is simply going on in a subconscious. There's not really a dead person. He didn't really kill somebody. Yeah, none of that's actually real. When he when like when those people enter, right, they're not actually there. But aren't we the audience supposed to not realize it at that point? At the outset of this, aren't we supposed to think those are real friends and real people? Yeah, sure. Okay, so for me at the outset, when the first friend showed up, my thought was, is this guy a sociopath? Why is he so calm? His dead frickin wife is in the bathroom and he's like, not sweating. It doesn't seem to bother him. His friend can hang out here all he wants. That's unbelievable. It's not real, Rick. But no, it doesn't matter if you think you were supposed to. The end product is it was in his subconscious. So why would he react to somebody who's not actually there? Because the point is, we're not supposed to know that until the reveal later. That's what you think there wasn't a point. No, there he nobody was there. So his reaction, he didn't have to have a reaction because he was literally just thinking about the every situation that could have happened when she actually comes home. Okay, so let me if you were thinking about a scenario in which you killed your wife, wouldn't part of that imagination include the freak out you'd be having at the time, unless you're a sociopath? Some of the freak outs were the other characters. That's what you're not understanding. No, I am understanding that. And that's the point. Where did the other two people freak out about the murder of her? Because none of them did. They wasn't specifically the murder. They the other guy kept talking about killing himself. That was his subconscious talking about killing himself. Sure. Yeah, right. So that was his freak out. I that wasn't his freak out. Yeah, because it wasn't the other friends weren't actually there. Those were his psyche. Putting on to those friends basically like inside out is those emotions. Right. Those were his emotions at that time. And so you saw at the end as well when the guy who was cheating came in and was freaking out. That was also the subconscious freaking out, his confidence of conscious freaking out and trying to leave. So he was supposed to be kind of a blank slate. Yes. Because he was just, it's his subconscious. He was just thinking. I understand that he was just thinking. Also, he hadn't killed her yet. If he was running through all the scenarios in his mind, weren't we as the audience supposed to be thinking he had? Yeah. But then you figure out that he didn't. And so later. Right. So if I as an audience member am supposed to be thinking he just killed his wife. That's the objective, right? I'm supposed to be tricked into thinking what I'm seeing is actually occurring so that the payoff later in the story makes me realize, holy crap, this has just been his thinking. Correct? Sure. Sure. Or yeah. You can, yeah, if you'd like to think that, yeah. Not if I'd like to think that. I'm trying to, I'm trying to find the, the, this is exactly what you were just saying, that he, this whole time this is going on in his mind. But simultaneously what the creators of the film are wanting to do is they're wanting there to be a reveal where there's an aha moment for you as an audience member. They're not giving you at the outset. This is all going on in his mind. You're supposed to believe what you're seeing is occurring. One, I'm intelligent enough to find that out very early on that these people were that. And two, they gave you multiple payoffs like that at the end. Great. How early did you know, I think that's immaterial, but how early did you know that this was just aspects of his own subconscious when the first guy came in? Okay. So prior to that, isn't the payoff that, so let's say that's the payoff. Let's say the creators were like, that's when the audience is going to know this is all going on in his mind. Up until that point, aren't they wanting us to think this has actually happened. This guy just killed his wife. So that when the payoff comes, we go, oh, whoa, this is actually just going on in his mind. What's real? What's not real? Or did this really happen or is he hallucinating? Right, just let that play out. They can, but that's my point. They're going to let that play out. When he kills her up until the point that the friend arrives, I'm thinking to myself, this is not the behavior of a man who just killed his wife. Yeah, because he didn't. So we were never supposed to believe that this was happening. Why wouldn't you just let the film tell that story? You are letting the film tell the story, but everybody makes a film with intention. Yeah, and you watch a film and you let it play. So you're like, okay, he killed his wife. What's he going to do now? I'm not going to tell it what to do. I'm just going to let it happen. No, I understood. Of course not. But here's the point. Shouldn't I, as the audience member, believe I just watched a guy kill his wife, whether it happened in real life or in his mind? It's up to the filmmaker's decision to, obviously, he did not want that. Because really, you think that's the choice that was made? Yeah, because it wasn't, it wasn't actually him, it was his subconscious. So once you realize that at the end, you're like, okay, that makes sense. Okay, then there's stuff that happens in the beginning of film that you don't realize why did that happen until the end of the film. That happens all the time. But if it wasn't the director's intent for us to have an aha moment. There were multiple of those, yeah. Then it was his intent to have an aha moment. Not the one that you're looking for? I wasn't looking for one. I was anticipating and expecting something based on what I was presenting. Well, you clearly, there were clear aha moments, like when he had the same conversation he had with these two gentlemen. Which is at the end of the film. Yeah, the chaos happens at the end of films. Hence my point. What point are you making? Aren't we at the beginning of the film? Supposed to believe we're watching a husband and wife fighting that resulted in the wife being murdered. Aren't we supposed to believe that at the beginning of the film? Yeah. And we're really not supposed to pick up on the fact that what we're seeing is happening in his mind until after the murder of his wife. Yeah. Therefore, shouldn't I as the filmmaker want the audience to believe you just saw this man kill his wife and he's in the aftermath of this reality? Yep. Okay. I didn't believe what I was seeing was a guy who really killed his wife. He seemed sociopathic to me. He seemed disconnected from what was going on and which led me to go. Okay. So is he sociopathic? Is he not sociopathic? No, he is. He is either a domestic abuser who would and did smash his wife heads and she didn't die. Okay. That's a whole other conversation about a sociopath versus somebody who's a domestic abuser. Not all domestic abusers are sociopaths. Okay, but this one is? Well, I think that's open to interpretation. Okay. And so is the entire film. Rick didn't get it. How about Rick didn't like it? That's fine. Rick versus you're right. I'm wrong. Well, I am right. No, you liked it. I didn't. That's fine. And I see certain flaws in it that just don't make sense to me in terms of execution of what I know was the attempt. And I explained them to you and you just still don't like it. And that's fine. Because I, which it is, but for you, it's, I didn't get it. I understand what they were trying to accomplish. I don't believe you did get it though. That's the thing. I understand what they were trying to accomplish. There wasn't anything about this you said I didn't understand. I know that these two people were part of a subconscious. I know in the end what we were witnessing never really took place. It was actually going on inside of his mind and he was the abuser and she was the one in the end who killed the abuser that still doesn't answer any of the questions for me that seem to not have any kind of a justification in the script or the execution of the actors. I disagree completely. Okay. There you go. This is a more entertaining review for you guys. That's what I try to tell you guys all the time. It's okay if you don't like a film. You're just dumb like Rick.