 I feel like this plaque is small. I feel like we need an upgrade to a big gold one. Big, big. We're back to our stupid or accident subcorpon. I'm Rick. Big false on Instagram and Twitter. I'm just commenting. It's so juicy. You can't even tell who got it going in case. Go on. What was the one person on YouTube channel? That's right down there for you. Today we are doing a movie review. Yep. Yes. Of another Molly Yalom. Did I say it correct? That was actually correct. Ha! Molly Yalom. Ha! I hear you. Yeah, that was correct. I've been saying it for one video. Molly Yalom. Molly Yalom. A film, our second for JLP, JLP, which I guess is the, because every single time I see is middle of the night, I want to say Jose. I know. It's just how, like, anytime you see that spelling, is it JLP or LJP? Lilo or Jose? Yeah. Lilo, Josie. Yeah. Jos. Lilo, right? LJP. J-O-S-E. It's Jose. Here. In our culture. But obviously, different. And Lilo. Yeah. It would be Lilo, Jose, but it's not. It's Lijo, Josie. Josie. Yeah. Anyway. LJP. But also I wanted to let you guys know, I've made a playlist for every language of film that we've done. So there's a playlist for Hindi language movie reviews. Mali. Mali. Mali-ali. Mali-ali. Mali-ali. Mali-ali. That's it. Okay. Mali-ali. There's a playlist for that. Assamese, Telugu, whatever. There's everything except a Punjabi because we haven't gotten there yet. We will. And I guess there's a few other smaller ones too. But just letting you know, if you want to see a full playlist of those languages, they're there for you on the channel. And anybody who in recent date has been really concerned that the channel doesn't cover enough Hindi stuff, just look at the playlist, would you? Yeah. Anyways. Today we're reviewing a movie, E-E-M-A-Y-E-E-M-A-Y-A-U, yeah. Which I believe, Transfer means Rest in Peace or Mary, Joseph. Jesus Joseph of Mary. Okay. Yeah. Mary. Yeah. IMDB translates to RIP. I've seen it translated to the other one as well. Yeah. And I guess it's because those culturally what I understand is it's the Jesus Mary and Joseph thing is actually like a prayer that is said into the ear of somebody who's died culturally. I read that somewhere. So I think if somebody saw those actual Malayalam words that represent Jesus Mary and Joseph, they're going to immediately associate that with death. Gotcha. Whereas we wouldn't at all, you know, RIP. Yeah. Instantly. 100%. Yeah. But yes, this would be a hundred spin spoiler review if you haven't seen it. Go watch it. Come back. I believe it's only two hours, so give it a watch. And so Rick, your initial thoughts. I don't have a paragraph because I have paragraphs that I didn't sum up size. But I basically can say it's one of the most spectacularly boring and I mean that as a compliment movies that I've ever seen. He dares you to be bored and sends messages like, who are the truly dead ones? Does it really matter what you do with the dead? What does that all matter anyway when in the end the reality is your destination will be ushered in one of only two places and what determines where you will go. And nothing anyone dead either during your life or after your death will alter it for you, which is more important, making sure you get the funeral right or making sure you get the afterlife right. And why is it that everybody in our world seems to be far more concerned with temporal things than eternal ones and don't miss the fact that the old man with the duck on the bus at the beginning, both of them are headed to the same place, death. Only his goose is cooked. But um, I like that one. So I sum up size multiple paragraphs. That's my thoughts. What's your take on it? Yeah. And I liked it. There you go. I liked it too. Especially the second half to when they actually got and it started raining and all the chaos started. Yeah. He starts losing it. He's going to bury his dad. Yeah. But it started to get really funny to me. Yes. There's lots of, this director has lots of subtly, like subtle humor just thrown in there. Uh, and then stuff maybe you shouldn't laugh at, but I'm, yeah, I think you're still going to. I think it's hilarious. That was one of my favorite parts is, um, the second part, oh, it's, because it started with a little, I think the one of the main humors was the wife that always cried for the nonstop, but then, especially like when anybody came in, it just started up again. And she'd stop at the drop of a hat, you know, it was, oh, can you see who they came? Why couldn't you have been alive when they brought it to you? What? No. Can't you? Do you see it? Yes. She was hilarious. She made me laugh. And then obviously the whole thing when obviously the bottom of the casket fell out, couldn't you get a better casket? Well, you know what, it reminded me of a lot. It reminded me a lot of the last film where everything was, the humans were the weird ones and the bull was the fine one. This one, all of the living people were nuts. The dead guy was the one who was normal, right? Yeah. Then this director makes very unique films. Very unique films. Like he doesn't go by anybody's, I don't know what you would call it, like a rule book? Yeah, rule book. Yeah. He has his own rule book for how he wants to make a film. Absolutely. Like he's like okay, you make a film this way, Christopher Nolan, and I make a film this way. He's kind of stylistically, I felt this in the trailer and I felt this watching it. He reminds me, his style is definitely his own, but if he's reminiscent of anybody, he's like a blend of Francis Ford Coppola and Oliver Stone for me. Especially the maverick sense of I'm doing it the way I want to do it and I don't care what you think, is the Oliver Stone. Coppola is the aesthetic, a very particular feel, a very particular ambiance, a very particular and just straight up like, I'm going to bore you and let's see how dedicated you are to watching cinema. Let's see how much you're going to want to stick to the story and really find out what happens at the end because I'm going to do some stuff that's not going to necessarily float your boat that long. You may be sitting here, you know, looking at your watch, waiting for the next thing to happen because I'm just going to, I believe, I'm not, he, I'm not going to, tell me if I'm wrong, he likes to take really simple stories and then maybe these are just the two we've seen, obviously, a village catching a bull and makes it. That's it. Huge, right? A village catching a bull. Yeah. That's it. That's technically, technically a son burying his dad, son burying his dad. That's it. That's the whole story. Right. And so I don't know if that's all of his stuff or if he, it's just these two that are very simple stories that obviously have a lot more message behind them. Right. But I don't know. But he's also, he loves chaos. Yes, he does. He, he's freaking loves it. Yes. Like, the way, once again, this also had a bunch of amazing tracking shots. Yeah. Just like the other one. Just like the other one. And also had a bunch of night shots as well. And really not, there was one transition in the rain from the exterior to the interior that was freaking seamless. Yeah. Just everything about it. Sound lighting camera from exterior to interior was just like you walked in the door with him. Yeah. Yeah. It was, it was really impressive obviously when, when, I forget, he's easy, easy. The son? Yeah. Easy. Yeah. He was going all crazy, trying to bury his father and he was, you know, whacking people in that whole rain sequence. I think for a good, it felt like five minutes, it was almost one shot. It did. It felt like for a little while. For a while. I don't know if it was, but it, that's what it felt like. It was, felt like almost like a one shot thing that he was just doing in the rain, which I don't know if it was real rain or if it was artificially done, whatever. But it was really, really well done. And it's not easy to shoot in the rain. No. It's not, just like it's not easy to shoot at night. Right. Exactly. Very hard to shoot in the rain. But I thought it was, I thought it was really good. This one obviously had a lot more characters that you could actually care about. Yeah. And this one obviously, the Jali Taku or whatever, whatever it's called, you weren't really supposed to care about. No. Right. It was, it was, it was just the frenzy. It was this. And this one still had a bunch of that. It was most about the frenzy and trying to keep up with it all. Sure. Everybody doing their own thing and having their own opinions about how, you know, you should be buried. You should die. You should do whatever. But he, he, I've never seen anybody who loves chaos as much as this man. Yeah. Not just chaos as far as what you're getting on screen. You mean obviously chaos as the central part of what's going on with your story. That's the insanity. And he, he very much, that's why I really would love to talk to him because I believe his intention with what he's depicting is with this film is the similar to the other one, which is absurdism. And the questioning of why we do what we do, which you and I are big addicts about that, not just as actors with people of. So why do we question, you know, why do we bury the way that we bury? Why, why, why bury versus creamy? What are the reasons behind it? Do you ever question the reasons behind that? Does it have any implications in terms of the afterlife? I love, here comes the word, the juxtaposition of the opening frame of the film and the closing frame of the film. Because that opening frame of the film is the long processional of the film, right? Which is in the trailer, which was also indicative of what the son was going to do for his dad. Like we never got there. He never got there. Which it's interesting. It almost was like his son's greatest dream with his dad. His dad wouldn't even experience. You know, it wasn't like, hey, dad, before you die, I want to go to the Himalayas. It was dad when you're dead. I'm going to give you the best funeral. If I'm the dad, I'm like, well, thanks, but I'm not attending. Yeah. I'll be gone. Yeah. But that ending shot of him and the great digger. Yep. And dog. Yeah. And the dog. And two separate ships coming. Was that supposed to be symbolism of each of them going off or is that like one going to heaven? Yeah. I didn't know what it was. I don't know. We'd need to hear it straight from his mouth. I think it represented the differentiation between destinations that could be either considered heaven or hell, salvation or damnation. I don't know if that's what he intended. That's what came across to me visually. It reminded me a lot of the Roman ancient history of the ferryman where you have the coin to pay the ferryman and he's going to take you across. So I don't know if that's what he intended. Does he always like to do that at the end of his films? Because he had the one with the caveman in the last one. Which was far more spoon-fee. Yeah, that was far more spoon-fee. Right. But does he always like to do something like that at the end of his films? Yeah. It's almost like a, it's not really a twist. No, it's almost like a tying it up in a bow for you at the end. Yeah. Does he always like to do that? You guys can tell us because you've seen more of it stuck than we have. Well, you will see more of it stuck. No, yeah. Because he's a fantastic director. Talking about just this cinematography, obviously, I think Jalipaku was visually more beautiful. That's really what they were going for. It was just, because it was shot at night. It was, and then they had pitchforks and they had the lighting the way they did. It was just so fricking pretty. The difference between those two is that film, there's not a moment in that film you're not enjoying the sound or the visuals. You're just constantly going, wow, this is beautiful. That's what I meant by the intentional boredom. Yeah. He like purposefully pulled away that visual pleasantry that you got from the other film and really made it mundane in a lot of places. Sometimes, yeah. Right? Yeah, sometimes. Like I said, towards the, when they actually got to the outside and him in the casket. And then when the other family came in. Yeah. It was the whole other family over the days. It was like, oh, I did not see that coming. Yeah. Did not see that coming. No, God's got another family. Yeah. God's got another family and they're like, oh, they killed him. It's like, okay. Yeah, I was so glad he didn't take that farther. I thought we were going to go off on a total other, you know, criminal. I love that it was just hinted at it. Maybe he didn't die. Maybe they tempered with the body. You know, it was just, oh, maybe we need to investigate this. Yeah. Just panning. Some stuff I didn't, I didn't even understand because like, obviously the daughter had that boyfriend. Right. But then, and then when, when he came to see her, I think he was trying to make out with her when he was trying to consult her, which was weird. Weird, yeah. And so weird time to do that. Yeah. You know, you know, read the room. It's a dead man. Exactly. Yeah. But, and then there was nothing really done after that. Then obviously the boyfriend kind of looked in the window a lot and then he wasn't the clarinetist. Was he? Because I love the clarinet. I don't think he was. Okay. But that clarinet was so fricking funny. The fact that it was just out of tune. Yes. And it kept being on. It turned. Yep. And looked, oh, it was so, that was, there was a lot of just subtly dry humor in this. Yes. I really appreciated that we didn't get in the other one just shows you how funny this director can be as well. Yes. So he's not just a one trick pony, which I'm sure obviously we know by his reputation, but it was from the last one, which didn't really to us have much humor. No. It was, this was a bit more subtle. This one, that one was far more direct, ridiculous, absurd, almost keystone cop because there's so much physical comedy at the end. This one, and both of them have this too. He's quite the mocker, you know, to the point of like insulting. Like he's an anarchist in a way. You know what he's very much give me a, give me a system of belief you've got and I'm going to put it up here and I'm going to kind of butcher it and make fun of you and let's see how you can handle that. I'm going to point out the absurdity of what you do. Do you even question why you do what you do? Yeah. Can you give a defense for what you do? And is it based on logic or is it just based on the fact that you do it? Because you do it. You don't even think about it. I said this before, for me, he's one of the most exciting directors. There's always pros and cons to a director. So I think the con that people would think is the potentiality that it's so director-focused. And it is. He is heavy. The director is the star. Star of 100%. At least of the two we've seen so far. Yes. The director is the star of the set. And obviously, what's to say his name? The main actor? Yeah. Oh yeah. He's the technical star of the film. Shaman Vinod-Jose. Yeah. I presume. I feel like he did really, really well. I did too. And I feel like everybody in the film did well. Everybody was super natural. Yeah. Like you met them in this village. But yeah, the way at least in these two films that we've seen, the director, it's his things. Kind of like Alejandro and Yuri too. I was just going to think that as it pertains to Roma, not necessarily Revenant. Yeah. Because Revenant is definitively a star vehicle for Leo and Tom Hardy is co-star. Yeah, I guess. Roma really doesn't have that. It's very much the director's film. Well, Birdman. That too. Very much the director's film. And Keaton was... There's a lot of people in it. But obviously, the way it's directed... It's a director's film. You're impressed by how it was directed. Absolutely. But even more so with this man because... Well, and Tarantino. Every Tarantino film, even when he's got stars, it's Tarantino's film. Yeah. So yeah, he's definitely the star of at least the two we've seen. Yeah. And I don't know if that's all of his films. It'll be interesting because I think he did one film with Fahad Fasil. I think it's called Amenum. I think that's what people said. With Fahad Fasil. Wow. That'd be interesting to see. He really loves to do that. A star like that. And I don't know how early on in Fahad Fasil's career it was. But his other film, the Diaries one, is the next one people say that we need to watch. Before at least... Because he has a new one coming out. I don't know if that one got a release date yet. I don't either. But I would. That would be my next step is to see... We've seen two things that are very similar in terms of genre, feel, storytelling. I'd love to see what he does with something that's completely different. Particularly script-driven, dialogue-driven, acting heavy. I wonder if he doesn't do that. He may not. He may not be his cup of tea. Yeah. He may not float his boat in any way. So he's just going to do these kinds of films. Yeah. And certain directors do their certain type of films. Wes Anderson. Yep. Wes Anderson does Wes Anderson films. He has power to you, man. Yeah. He's like, this is how I like to make films. And here you go. If you don't like it, Tim Burton. Tim Burton makes Tim Burton films. Yep. And, you know, it's... They don't really stray from their genre too much. And if they do, sometimes it doesn't work. Right. But I feel like this was a really, really good film. Yeah. And also a lot of Maligalum films. About two hours and under. I think Seen Fiery. I think Seen Fiery. Oh, no. I guess one of the Fahafas, the ones we saw always. Well, the ones we've seen have been mostly short. Oh, short. That length. They've been short. Interesting. Yeah. But they're newer too. That's happened in Hindi films. That has, as well. Yeah. They've started to recognize runtime for the rest of the world. Yeah. And shorten some of their films and still include their intermissions. Yeah. But, yeah, he's, like I said before, one of the more exciting directors. I have no problem at all if he stays in this wheelhouse. Because it's a strength and it's fantastic. Yeah. Well, let us know what of his films we should watch next. Let us know the next Maligalum film. We should watch it outside of his as well. And let us know how smart or dumb we are. Down below. Yep, we know you will.