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Is Extraction a Great Bad Movie Great Great Movie?
Joe controversially asserts that Extraction might not be a Great Bad Movie®, but rather a Great Great Movie. His evidence is almost irrefutable: Over the top action scenes, Chris Hemsworth fighting for redemption against faceless hordes of bad guys, guns that go “thwonk”… If this movie isn’t perfect, it is definitely perfect-adjacent.
Along the way the discussion covers the new breed of action directors who started as stuntmen, enemies becoming allies, friends becoming enemies, and references to the “Goonies from hell” which is just as current a reference as you thought.
In honor of the single shot action scene in Extraction, Greg and Joe also recorded this episode in a single take. You’re welcome.
As always important questions are answered, drinking games created, and the back of the box is, um… Boxed, I guess?
Joe’s Back of the Box
Tortured by the death of his son, Tyler Rake (Chris Hemsworth) is a mercenary for hire that specializes in the jobs no one else can take. His latest job has him rescuing the son of a gangster from another gangster on the streets of Mumbai, With seemingly the whole town looking for them, can he extract the hostage? Or will he become another victim in a senseless world? Bodies and bullets fly in this electric action movie.
The REAL Back of the Box
This movie kicks ass. Watch it. You will not be disappointed.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Greg: Joe. In the movie we watch this week, we see a kid kill someone for the first time. What was it like the first time you killed somebody?
Joe: I threw up. That’s pretty common throughout. Yeah.
Greg: You know.
Joe: But I got over it. You know, so I can kill better third kill. Now I’m just serial killer or late alien.
Greg: That’s amazing.
Joe: What about you?
Greg: You know, what’s weird is I felt nothing. And bizarrely, I haven’t felt anything since either.
Joe: I think that’s normal.
Greg: So I’m starting to think I shouldn’t have done it. All right, let’s get this show.
Joe: Let’s do it.
Joe: This is an extraction. So who are the players? Biggest drug lord in India versus biggest drug dealer in Bangladesh. Drug lords. Son. Proof of life as of six hours ago. You want to survive? You do exactly as I say. That kid is a walking corpse and there’s no way to protect him. You have a family? Yeah. So you do a lot of physical features because in a chopper and get you all.
Joe: But you gonna leave the kid behind?
Joe: Are you going to leave me in the street?
Clip: You get you home.
Greg: In the year 2020. Our guy, Sam Hargrave. First time director of a long time stuntman. Decided it was time to direct a movie written by the Russo brothers.
Joe: Who we love. We love them.
Greg: Love, love. Except when they’re making Marvel movies on your part.
Joe: Well, they did make my favorite one, which is the Winter soldier. So that is a great.
Greg: Okay.
Joe: Okay.
Greg: So peaks and valleys when it comes to their movies. Okay. They made a movie with Chris Hemsworth, and it is called extraction. I think we should just dive right into it. Joe. Guy. Tucker. Have you seen this movie before?
Joe: I have seen this movie before. This is the second time I’ve seen it.
Greg: Okay, okay. Why is extraction a great bad movie?
Joe: You know, this movie is a great movie. I don’t I struggled to even find something bad about it other than the typical action movie tropes of, like, the ridiculous one against a million action scene. But this movie, I liked it the first time I saw it, and I saw extraction two pretty recently, and then I watched this one again, and this movie exceeded all of my expectations.
Joe: And it feels like this new breed. So we have the John Wick. We have David Leech, who did work on John Wick, and then Bullet Train and those movies and Atomic Blond, and then we have Sam Hargrave. So these stunt men, directors who are throwing the kitchen sink into these action movies, so it is spectacular to watch them.
Joe: The action sequences in this movie, I was struck by the intricacies, how long they were. There’s a scene from when he basically rescues the kid to when he’s.
Greg: Extracting the.
Joe: Kid, when he’s extracting the. Yeah. Okay. To the point where they have the single camera shot action sequence in the apartment complex that ends when him getting hit by a car, and then the other guy getting hit by a truck. Right. That is spectacular. And it’s probably a 2020 five minute scene start to finish.
Greg: It’s 11.5 minutes.
Joe: That scene, the.
Greg: Scene 11.5.
Joe: From the extraction to that scene, like.
Greg: Oh, the continuous shot is 11.
Joe: The continuous shot is 11.5 minutes, but there’s a scene like leading into that.
Greg: Yeah.
Joe: Is ridiculous. And it’s done. So it’s not CGI. It’s not green screen. It’s a car chase. It’s so good. So this is a great movie. It’s a great action movie. I just thoroughly enjoyed it. And every time, every scene I just, like could not believe it. And that single shot action sequence. I had forgotten about it was a big talk about it in the second movie, because it’s even more extreme in that, yeah, even in this one, it’s so good because I kept watching, waiting for it to cut.
Joe: Like, how long are they going to go with this and then never stop. So I struggle to find anything bad about this movie. I may be like one of the one that’s in the tank. Like, I mean the like the one comment I would make is like, where I love the Gray Man is the sense of humor that kind of flows through it.
Joe: So it’s it’s funny at points, they’re dead serious in this movie. There are no laughs, really. So that could be maybe something I could point to to say if I wish they had that. But it doesn’t. It’s not true to the movie for me. It’s like, so I’m in, I’m in on this movie. What about you, Greg Reinhart?
Joe: Why is this a great bad movie? Talk me off the ledge. I’m like, there’s nothing bad about it. It’s perfect.
Greg: Okay, so am I hearing you say that you think this is a great, great movie?
Joe: This is a great, great action movie.
Greg: It’s not a great bad movie.
Joe: It’s not a great bad movie. I can’t go that I and I enjoyed it too much. I was too in on the whole thing. It’s. I just there are ridiculous parts about it that I just was in on, like, it’s a great, great movie to me.
Greg: Now, for people who haven’t listened to the show before, sometimes we stumble upon a movie that’s too good for our show.
Greg: And then we take a hard left turn into an episode of great, Great Movies on Our Side podcast. I can’t go along with you on this one, but I can’t. I also don’t have a great reason why I think if there’s like digital blood splatter and scenes seem like video games, then it can’t be a great, great movie.
Greg: And that might just be naive on my part, but I feel like this is a really, really great bad movie. Okay, but I, I might talk myself out of this by the end of this opening chunk. Even. We have a good friend that we lived with, cam Nicholas and I was talking to him, I don’t know, last year or the year before, and he mentioned this movie and I said, oh, I haven’t seen that movie.
Greg: And he, he like, did a double take and looked at me and said.
Joe: What.
Greg: Of anybody? I know that probably would have seen that movie and loved it. It’s you I that’s you have to watch this movie. It’s one of your movies.
Joe:
Greg: And I think he was saying it’s a great bad movie.
Joe: I mean I could be talked into it’s a great bad movie. But the quality of action in this movie is so top notch to me.
Greg: It is. That’s true.
Joe: And so that was the piece that always gets me. And it’s not doing anything new. Like I didn’t see anything that I hadn’t seen before. So what I saw was the breadth and depth of the action sequences were so spectacular that I mean, yeah, literally from that, the extraction scene to the end of the single cam is like 25 minutes of basically wall to wall action.
Greg: It is. That’s true.
Joe: That’s true. And a pretty brutal fight scenes just it goes on and on and you kind of wait for it to take a breath. And it doesn’t give you a moment to really catch your breath until about halfway through the movie. And so that just I love that I love these directors. And I do feel like they’re like, these are all the stunts that we wish we could have done.
Joe: Sure. They’re just going for it. And so I had just like at the tip of the cap to me of directors who have always wanted to do crazy things, like, let’s do a 12 minute single camera shot action sequence through, and you’re going through people’s houses and the main character changes, and then they kind of catches up and it’s so beautiful, so totally.
Greg: There’s a chance that every movie should be directed by a stunt coordinator.
Joe: I agree.
Greg: Even if it’s a tear jerker drama. Okay, so I love this movie. And you’re right, the action is just incredible. And you know what? The characters aren’t too shallow for the most part, and they’re also not too deep. It’s not too melodramatic. There is a really nice amount of story and emotion and character that happens throughout the movie.
Greg: I feel like it’s a big lift for Chris Hemsworth, and he does a really good job, both in the action and in the moments when he gets to look off into the middle of distance and be sad.
Joe: Yeah.
Greg: But he has a borderline Tom cruise like stare to cry ratio.
Greg: Which is just a beautiful thing.
Joe: A spoiler alert, one of my drinking game, the shot of loneliness. And it’s him like, yeah, yeah.
Greg: I think a perfect line in any great bad movie is when there’s, like, a greatest person on the planet who could handle a certain situation, and in this case, it’s the extraction of a kid. And someone in the movie says, there’s a man who does this sort of thing that was like, well, it’s one of my movies. Here we go, I love it.
Greg: Am I wrong that Amir Assaf is the most Muslim name that a screenwriter could come up with?
Joe: Probably.
Greg: It’s as if, like, if the bad guy was a Christian, his name would be like Tristan Stevens and he’d be a youth pastor.
Joe: Yeah.
Greg: Yeah. I think we’re going through a bit of a phase of stunt coordinators directing movies, and so far the batting average is pretty high.
Joe:
Greg: Do you think this movie is the only movie better than this in it’s lane? Is John Wick right? Would you say Atomic Blond is better than this movie? Oh, maybe.
Joe: Maybe. I think as a movie, Atomic Blond is better. I think David Leach, his movies are a little I don’t know how to put it, but, like, he’s got a different point of view and how he’s directing his films. Still great fight scenes, a little bit more character driven. Yeah, I feel like John Wick and this, this one I was thinking about today almost feels like a sequel of how action packed it is.
Joe: You know, a lot of first movies, even John Wick, the first movie compared to the second and third and fourth. The action is definitely different, but they’re telling a story in the first one where the second one is just, let’s go crazy, right? And this is a Lethal.
Greg: Weapon two, not a Lethal weapon one.
Joe: And so I almost feel like like we’re at like a sequel level, action. And we see that in the second one as well. They up the, up at there.
Greg: But it sounds like it’s primed for a prequel. Is that what you’re saying?
Joe: No, I would never say that. How dare you? Yeah.
Greg: I agree, and great director, great actor. But I think, you know, we got to give a hand to the Russo brothers on the script here. I want to say in the closing credits, did it just say Joe Russo wrote it? So, yeah, there’s more in the Anthony Russo was also listed on IMDb as well as another guy, but this was based on a graphic novel that they wrote, which I’ve heard is a way that people get movies made or scripts purchased.
Greg: First they make a graphic novel, and then they base their screenplay on that graphic novel. And studios can kind of read the graphic novel as if it’s right, you know, they’re watching a movie, and then they’ll make it. That convinces them to make it interesting.
Joe: Wow. Yeah. And on that, I mean, this, I would say the signs that point towards it of being a great bad movie are, you know, the setup is pretty ridiculous. It’s like it opens and then you go two days before. So the timeline is super compressed.
Greg: Yeah.
Joe: Sure. No. So how does he get ready? How does he go from where he is to Mumbai. So those are like the the leaps and that you have to make. He is the only person that’s like the only one that makes Nitro adds nitro to there.
Greg: It’s got fast and furious for all over it.
Joe: Just the sheer ridiculousness of the fight scenes and the the amount of damage that he takes in one scene, and then in the next scene, he’s basically fine.
Greg: It’s good. He’s got his feelings are hurt. Maybe. Yeah, but otherwise we’re good to go.
Joe: John Wick does the same thing where, you know, it’s like he gets absolutely obliterated. Then you, like, takes a shower and then now he’s magically fine.
Greg: That is exact. Oh, and there might be like, drink of heart.
Joe: Out,
Greg: Yeah. That happens in both of these movies. Yeah. You know, Gray.
Joe: Man does that. Or was like, oh, they missed a major artery. Or maybe they made him. I didn’t hit a I can’t remember what they say is like, I missed my spleen or something like that. And he staples himself, takes a drink, and he’s fine for the rest of the.
Greg: Movies being so amazing. Yeah, totally.
Joe: Those are awesome moments. But for the rest of it, it’s it’s really just how much action can we pack into this movie? Yeah. And let’s go from there. You know, we have kind of the bad guy, semi bad guy who sets this up. Then they become allies. So that’s another trope of a great bad movie, which I’m totally here for.
Joe: Totally shades of every Fast and Furious movie where the bad guy suddenly becomes family now.
Greg: And shades of, that sting song. And do the Russians love their children? Yeah, that’s what I got out of this movie. The bad guy like, oh, why are we know? Why is he calling home? Why are we meeting his wife?
Joe: Yeah.
Greg: Oh, no. Why is he. Why are we seeing him talk to his son? Oh, we’re supposed to like this guy now.
Joe: Okay. Yeah, we got to make his death hurt a little bit. So.
Greg: Spoilers.
Joe: Jeez. All right.
Greg: This movie starts with a kidnaping. It’s a bad guy. Cop randomly kills, tertiary character in the movie. Just out of nowhere. That’s a sign of a corrupt system or whatever. That’s a that’s a sign of a great bad movie.
Joe: That’s a sign of a great bad movie. And it sets the stakes right there. Sure. Where they usually don’t kill kids. Yeah. That’s true, that’s true. Yeah. Spoiler alert. That’s not the only child that is killed in this movie.
Greg: I guess we’ll have to, like, just say spoilers for the extraction. I mean, it’s not like we’ve ever done format.
Greg: We do spoil every movie we talk about.
Joe: If you’re listening along and you haven’t watched this movie, what’s wrong with you? And how dare you?
Greg: Yeah, yeah, I think you need to take a hard look in the mirror seriously. And make it make that change.
Joe:
Greg: All right, so we meet Chris Hemsworth. I don’t really need to go through, like, the whole movie, but it’s interesting how we meet Chris Hemsworth. He wakes up, takes a drink of a beer that’s obviously just water in a bottle, so obviously not really beer. And then he just jumps down. What do you think, 200ft into some water?
Joe: Yeah, maybe 100, 200ft down. He just drops into the water. Oh, right. This doesn’t care. That’s what we’re supposed to get. Yeah.
Greg: And then he just sits pensively underwater, which is maybe a trope of a great badly.
Joe: Right. The talking to me. And I’m coming off the ledge of great, great movie.
Greg: That’s how we meet the character. SIP of beer, drops an impossibly long distance down into water, and then just sits under the water, pensively thinking, how yellow is the filter on this movie when we go to DACA? Am I pronouncing that right?
Joe: It’s pretty. I mean, it’s noticeable. It’s not as bad as like, Tony Scott, but yeah. Okay. Man on fire Tony Scott bad right.
Greg: Is it Domino?
Joe: Tony Scott maybe on the scale of Scott it’s Domino not.
Greg: Yeah I want to say that there was no yellow for any film for six months after this because they used all the yellow. We were out of yellow for a while. Sign of a great bad movie. Chris Hemsworth takes the kid and doesn’t assure him at all. He’s very emotionally distant and just like, throws him in the trunk.
Greg: Never once says, I’m here to rescue you. He just says, eat this because you have low blood sugar. Here’s some water.
Joe: Yeah.
Greg: And then we have the longest single shot in history as he, rescues the kid.
Joe: Yeah, there’s the second one is longer.
Greg: I’m assuming it must be. It has to on it. And there’s, like, trains.
Joe: Yeah, a car chase.
Greg: Yeah, yeah, we’ll get to the second.
Joe: One, which is the second one is spectacular in the ambition that it has and the way it hammers on it to me, I think I still prefer the one on the first one because it was unexpected and it feels like tighter and closer and like everything is claustrophobic about it. And I know how much choreography goes into it.
Joe: So. And both of those scenes and one has a prison riot and.
Greg: Right in the second movie.
Joe: Yeah. So both of them are spectacular. The first one is just, it’s so good. That’s one of those scenes where I could just watch that. I’ve done that with like, Children of Men. At the end of that one, I think I’m a single shot, which is just a beautiful, just really hard scene to watch. But it’s so beautifully shot.
Joe: Yeah, this one is that one is action ish I would say is there’s action in it but not the same way. And this is like, let’s do a single shot action scene like you’ve never seen before.
Greg: This one is stitched together from 36 different sequences to make one shot. Yeah, I read online somewhere. Some of those sequences took 25 takes in order to line them up correctly.
Joe: That’s pretty amazing.
Greg: Were working on this for a while. Yeah, the budget on this was $65 million.
Joe: But as much as I would have thought.
Greg: It looks like a $250 million movie, a great bad movie has someone who runs out of bullets and then punches the person with the gun.
Joe: That happens quite a bit.
Greg: Can that be a great, great movie? That can be.
Joe: That could be a great, great movie.
Greg: But in a great, great movie with they don’t look as pensively underwater. I think when you hear pensive underwater shot with punching someone with a gun out of bullets, does a great bad movie have a broken nose being reset?
Joe: I think that’s a great, great movie. That scene is painful. It’s hard to watch.
Greg: Yeah, there are consequences to these scenes. Okay. Yeah. For the fight scenes.
Joe: That’s about the only consequence, really. I mean, a guy is literally hit by a truck and. Yeah, thanks his nose and he’s got a good, good to go in the next scene.
Greg: So tearfully kill a son and then he’s ready to go with, like, rocket launchers or something. And there is a moment where a bunch of kids attack Chris Hemsworth, and he calls them The Goonies from hell. Yeah.
Joe: That was awesome.
Greg: Pretty solid. Yeah, yeah. David Harbor shows up as a guy who Chris Hemsworth had saved his life, and then he got out of the game. And I don’t know, I usually say this about Stanley Tucci, but I’m just saying about David Harbor, I just would like David Harbor to show up in every movie that I watch. Like from now on.
Greg: I agree, if he’s available, we write a character for him to kind of like drop in and and have a drink.
Joe: Yeah, absolutely.
Greg: Potentially getting a living room brawl.
Joe: Yeah. I mean, the crazy thing about that scene and there are two moments in this movie where it could have been a very different movie. So he gets the kid out and then he’s trying. They’re trying to get to a boat that’s kind of the and they’re going to escape that way.
Greg: But there’s other bridges that leave the city are blocked.
Joe: So then the leader and his ear, the woman, Nick says, just leave the kid and go. And there’s a moment like, yes, 100%. You should just leave the kid and go, yeah, but he won’t do it. We get the backstory that he lost his son to cancer and wasn’t there. And so I’ve added another trope. So we have revenge as the driver of the protagonist as a trope.
Joe: But this is for sure redemption as the driver of the protagonist. So his character can’t leave the kid because he would be leaving his son. That’s the parallel that they’re trying to do. And then we have this scene with David Harbor where David Harbor is basically said, just go kill the kid. He’s dead anyway, and you’re sparing him.
Joe: And as a part of me is like.
Greg: Yeah, yeah. If David Harbor says it’s got to be good advice, you know, he let our hero take a shower, which he knows a hard reset.
Joe: So, you know.
Greg: Carried all of his.
Joe: Ills. Yeah, but yeah, those are two moments. I was like, maybe the movie just ends right there. And,
Greg: Yeah, just right there.
Joe: Everyone hates it and then walk out.
Greg: I do love that the flashbacks to, his family on the beach and just entirely out of focus.
Joe: Yeah.
Greg: That was kind of a nice touch. Really good performances in this movie. Yeah.
Joe: Surprising.
Greg: Is there a bad performance in this movie? They’re really.
Joe: Good. Yeah. I think everybody delivers in their part.
Greg: Yeah.
Joe: Even the kids. Yeah. You hate the bad guy. The main bad guy. He’s just despicable. Yeah. It’s a yeah, it’s really good. It’s I think that that’s what always. That’s what drove it for me to be a great, great movie in my mind is there aren’t those moments where it’s someone who’s just totally is in the wrong movie or doesn’t know what they’re doing.
Joe: It’s really well done. Yeah. All in, it is crazy and ridiculous, but everyone just kind of buys into it. So great performances and it and I was expecting kind of when it opens kind of the Chris Hemsworth character from Thor Ragnarok kind of comedy wise cracking right, right kind of person. Yeah, totally. He is not that character at all.
Greg: Not that guy. The second movie has a lot more humor. That’s probably their one note. Yeah, like little humorless guys.
Joe: Let’s lighten them, lighten the mood here. And moments. Yeah.
Greg: I mean, this is probably one of the best Netflix movies I’ve ever seen.
Joe: I would agree with that.
Greg: And people like the second movie more than the first. Critics like it. Audience likes it better. What do you think the critics score on this movie is? Joe?
Joe: I would say like 50%.
Greg: It’s 67% critics. Yeah. Which feels about 3% low.
Joe: Yeah. That’s true. What’s the audience score though? Audience scores got to be 70% on this 71. See then our movie.
Greg: This is our movie. Yeah. And there’s been a shake up at Netflix. The guy who was in charge of movies has left. And they’re going to make less than half the amount of movies that they used to, but they are making an extraction. Three are they?
Joe: So I mean, the end of extraction two they set up. Yeah, there’s got to be an extraction three yeah. After that and.
Greg: I in my opinion, I can’t think of a better Netflix movie than this one. I suppose there’s like Roma, the Oscar movies.
Joe: Yeah, but that’s not what we’re going the next fight and that were you and I. Thanks for. That’s not this podcast I want to see, the longest single shot action sequence possible. Yeah.
Greg: And I don’t think that happened in the new Bradley Cooper movie. It’s that we we call my. Yeah, that’s not going to happen in maestro.
Joe: I gotta show a symphony in one shot. Oh.
Greg: Maybe a third, maestro, I don’t yeah, I’m a judge. Maestro. Before I. Well.
Joe: Sam Hargrave. Drax. Maestro.
Greg: Wouldn’t that be great? This is a great movie. The only movie that I can think of that’s better than this, though, is is like John Wick or in this genre of, like, stunt coordinator, stunt man directed movies. It’s John Wick, it’s atomic blond. I mean, it’s like.
Joe: Yeah, I’m trying to think of, you know, bullet train.
Greg: Sure. I think this is better than Bullet Train.
Joe: That is that is, I’m trying to like as a movie bullet train as it’s got like the crazy character. So it leans more into. It’s funny. Yeah, it’s funny. It’s got an interesting characters. It’s an action movie, but it’s the action is different. This is this is like, yeah, how much can we pack into this and of action.
Greg: So Bullet Train is a is a David Lynch movie that doesn’t have Hobbs or Shaw, which in my mind just wouldn’t work, but somehow it works pretty well.
Joe: I think maybe David Lynch is a little bit more mainstream than this movie is.
Greg: Yeah, we’ll get to every David Lynch movie. Yeah, I think we can safely say that.
Joe: I mean, I’m trying to think and John Wick, I think is is better because of the world they build around it. But even that has some of the great bad movie tropes that we love.
Greg: This is a more emotional movie than that one. Yeah, that one does a really good job with John Wick wife and dog. And then there’s humor about how he’s the greatest there ever was. Like, they sell the good guy in that movie quite a bit. Yeah, this movie does, I don’t know, these all feel like realer people that then you get in John Wick.
Joe: I mean, that would be a great versus owed of these three directors their best movies. We are the winners because we get to watch them basically.
Greg: Joe, I just realized we’ve been talking about this movie assuming that people know what it is. If people haven’t seen this movie, maybe we should let them know. It’s about let’s give them the back of the box.
Joe: All right. Here’s the back of the box in olden days and Blockbuster Video looking for a video. You pick it up and you read this. It’s the back of the box. Tortured by the death of his son, Tyler Rake, Chris Hemsworth is a mercenary for hire that specializes in the jobs that no one else can take. His latest job has him rescuing the son of a gangster, stolen from the streets of Mumbai by another gangster, with seemingly the whole town looking for them.
Joe: Can he extract the hostage or become another victim in a senseless world? Bodies and bullets fly in this electric action movie, but the back of the box.
Greg: Way to get the title in there.
Joe: Thank you. Nailed it.
Greg: All right, so that’s that’s the real back in the box with the honest back in the box.
Joe: Here on this back of the box is short and sweet. This movie kicks ass. Watch it. You will not be disappointed.
Greg: Watch it twice at half speed.
Joe: Yeah, exactly. This movie is so good at so much fun. If you love action movies and you don’t love this movie, I think there’s something wrong with you. There’s something.
Greg: Wrong. We question your judgment.
Joe: Yeah. Every choice you’ve probably made in your life.
Greg: Yeah. We don’t want to dehumanize you, but we do question what kind of life you’re living.
Joe: Yeah, yeah, yeah, I mean, a gray, boring, colorless, awful existence by baffling.
Greg: Okay, let’s get to drinking games.
Joe: All right. Took me a while to find some. So our kind of stock drinking games? No. Silent helicopter. There are helicopters? Yeah. No. Silent helicopter? Yes. Do we have a push in and enhance? I didn’t notice one. No. That’s one. No, we do have some moments where people do share some looks in the middle of chaos. So like like turn seven verse right at the end got shot.
Joe: And then he sees Nick, his partner. So there’s some beautiful moments like that throughout. And even some silent, like explosions, silent, ringing in the air. That might be the second one. I’m getting them confused because I’ve watched them on back to back nights. Now.
Greg: I don’t know if there’s ringing in the ears, but it definitely does kind of get a little bit quieter in this one.
Joe: We have, opening scene. The title locks in with a sound. It does not walk in with a sound, but what happens, I noticed, is it goes dead quiet. So you have a score that’s rising, and then extraction is dead quiet. So I feel like that that gets in there. We hope you can do that one.
Greg: It’s the notes they didn’t play.
Joe: Yeah, exactly. Yeah. It’s the negative space.
Joe: Only great great movies. Yeah I mean in the negative space. So does it flashback to dialog two minutes ago. It does flashback. There are some flashbacks in this to like his son on the beach and that sort of things.
Greg: Right. Which probably was two minutes ago. It happened just immediately before each scene in this movie.
Joe: Yeah, yeah, back to the beach. I would let you, if you wanted to have some crazy CGI, because there are some CGI moments, but they it’s pretty straight. But if you if you’re just thirsty, take a drink.
Greg: I think we’re done with, this is ten years after they really kind of indulged in that.
Joe: Yeah.
Greg: CGI close calls.
Joe: Great bad shots. Oh my god. Yes. Every freaking gunfight.
Greg: Not only does he outrun a gun that’s just swinging from right to left as he’s running, but he jumps out of a back window of a car
Joe: To avoid it somehow. Yeah. So I didn’t notice if the streets are inextricably wet during the fight scene with the kids, but they could have. It could have been. That would have been that time. They would have been. Right. Give us the room. There wasn’t that, kill the henchman, but the bad guy lives. Color filters. That the one?
Greg: That’s the one. Yeah.
Joe: That one. You’re drinking a lot.
Greg: The streets aren’t wet, but the screen is yellow.
Joe: Yes. You know, you’re in a foreign country in this movie.
Joe: So those are stock ones. All right. What’s, what’s, drinking game that you have that you noticed?
Greg: Okay. Any time a sad kid plays piano and it becomes the soundtrack to a montage.
Joe: Maybe the winner. Yeah, I already said this one about shots of loneliness. So Chris Hemsworth, the kid. They’re like, kind of opens with them a lot looking wistfully or being alone and seeing.
Greg: So that’s good. There’s a lot more of that than the one that I have. Anytime someone is pensive underwater.
Joe: And there’s a line to which you should probably drink where it’s like not being underwater is, is a problem. It’s not coming up for air or something like that that the kid tells them it was a very that would push it towards great bad movie where the kid says, I’m very philosophical line after being kidnaped and all of that.
Joe: Yeah. So right.
Greg: Now. But that’s like a four year old or a three year old in a great bad movie.
Joe: Yeah. Any time someone has a hood put on them when they’re being either kidnaped or transported to a new location.
Greg: So that is a perfect drinking game for this movie.
Joe: Yeah.
Greg: I think that’s the winner. I have anytime someone shoots a gun that goes, thunk, you know I’m talking about this like it’s at some kind of like, rocket grenade shooter, but it kind of looks like a big. Yeah, it’s. I think actually people call it a pirate gun because it looks like a pirate gun, but it’s like some sort of.
Greg: But it makes that sound, I think.
Joe: Yeah, there’s a lot of those.
Greg: Yeah. It’s like the, Terminator two gun. I want to say he use that in Terminator two.
Joe: Yeah, I have any time there’s a fight with children or a child is killed or thrown off a building. Yep.
Greg: Is that meant to be funny? Bad guy throws kid off a roof. I feel like that’s played as a laugh.
Joe: I kind of was, because it’s, like, so shocking that it happens. But it’s. Yeah, I kind of got that too. So.
Greg: Okay, I have any time a rocket launcher is used.
Joe: Oh, that’s a good one. Oh you’re drunk. If you’re drinking anything that’s not water.
Greg: What’s your count on that rocket launcher? It’s like the it’s like the surface to air missile thing. What do you think?
Joe: There are at least three different times that I can remember.
Greg: Okay, okay.
Joe: In that one.
Greg: Yeah.
Joe: And in the second one. And that’s a I mean we’ll have to see how many of these carry over from one movie to the other. That can be a, a drinking game in and of itself. But yeah, right. There are a lot of rocket launchers and both of them I have every time they say extraction.
Greg: Oh that’s great. Oh, my next one is anytime they say a version of the word extraction.
Joe: Air. High five air. Right. Amazing. I talked about this one too. But every time he is magically healed from the previous scene. Yeah.
Greg: Wow, I don’t know. How do you even quantify that? I have anytime you see a chopper.
Joe: Oh.
Greg: This movie is really good in that sometimes they just they’re driving down the road and they look up and the camera pans up and there’s just a helicopter right there.
Joe: I.
Greg: Like to think there’s always a helicopter right there. Whenever a scene is happening in the movie that I’m watching. And so I appreciated this movie, but I just point in the camera app to show us where that helicopter is up there.
Joe: Yeah, I have every time he is in new full battle gear and the next scene they be like, he’s ready to fight. Then these like taking it off. He’s now. And then the next scene is like full battle gear again. Where they come from, we don’t know.
Greg: Tell them no, no.
Joe: Yeah I don’t ask that question.
Greg: That’s hilarious. I have anytime someone is hit by a vehicle.
Joe: Oh.
Joe: This is the.
Greg: Greatest movie of all time.
Joe: It is? Yes, I have every time an avalanche of bullets pummels a room. But he ducks behind. Something to be saved. Where? It’s just a million bullets and like the biggest gun machine guns possible and like. But the island in the kitchen is saving his life.
Greg: We’re good to go. The John Boos just right there. Yeah I have anytime Chris Hemsworth tears up.
Joe: Oh that’s a good one. He’s got a good like steely eye as water moments. Like he’s he’s good at that.
Greg: He’s Tom cruising. He’s Tom cruise and.
Joe: I have every time he shoots someone while also in hand-to-hand combat with someone else.
Greg: Yeah.
Joe: It’ll be like fighting someone. Then they’ll shoot someone over here and then spin around and shoot this person, and then kill the person he’s fighting with, and then get the person behind him. And it happens so much. It’s so awesome.
Greg: It’s great, it’s great. And I especially love in these movies where it’s probably like the same eight stunt people in every scene. Yeah. And they all just are completely covering their faces in one way or another. So we can’t tell that it’s the same people that were in the last fight scene.
Joe: Yeah. So the next great actor directors out there.
Greg: Yes, yes.
Joe: I had one more, which is every time you see a room filled with computers, especially in the beginning of this movie, there are lots of shots of their team when they’re trying to get the money and the extraction is.
Greg: Oh, for sure, that’s all I.
Joe: Want. Yeah, just drinking at the beginning of the movie.
Greg: So I do love when they have like the poor resolution kind of just outline of boats that are like on a, on a map, like, hey, we’ve got to two boats are incoming. And that’s the way that we show that some boats are coming in. Like there must be other things that could their software must think is a boat as well, or like a person is walking towards our guy and they just like they know who that person is and that they’re a bad guy.
Joe: Yeah.
Greg: It’s not like a lion. It’s definitely a person you know I don’t know I just think that’s always funny.
Joe: Yeah. They do that a lot in that, that scene when they’re going to the boat like you have the map right. You can see the people and it’s like all you got is you then coming right to your location. What how do they know. Yeah that’s.
Greg: Awesome. It’s like the GPS and Fast and Furious for that. It’s kind of showing us the scene because they can afford to actually film it.
Joe: Exactly. I have some tropes here as well.
Greg: Let’s get to Joe’s trope lightning round.
Joe: Yeah, so I added this trope redemption. As the driver of the hero. Yeah, he’s driven by saving his son. Okay, he’s the best at something. So he is the one that you call when this is, you know, and no one else can do it. It’s kind of a reluctant hero as well.
Greg: Is he reluctant or is he Martin Riggs from Lethal Weapon or he just kind of like, they kind of say you’re just waiting for the next bullet to hit you or something like that?
Joe: Yeah, it’s one of those two. And that would be fine with these is like the or the hero on a suicide mission type of zero.
Greg: Yeah. Hero with nothing to live for.
Joe: Oh, I like that. I’m adding that hero. And I think they’ll live for the last one that I have. And this one, this movie does it a lot. Is who is allowed to inflict damage on the hero. What caliber of character? So there are a lot of faceless policemen and bad guys that she kills and beats up.
Joe: But who does? Who inflicts damage on him? Who can shoot him and kill him? Or he dies technically in the first one, but he’s resurrected in the second one. So again, spoiler alert for anybody but the people that cancel, there’s the person that is the Special Forces person that’s he’s fighting, and then they end up teaming up when he inflicts pain.
Joe: So he hits him with a car. He stabs him, I think, and hurts his shoulder. You know, he gets punched a lot by faceless bad guys, but doesn’t get real damage except for people of a certain status. Almost like a video game, like boss level type of things. You know who can shoot him? It’s the kid who kind of works his way up, and the gang can can shoot him.
Joe: The general of the bad guy can shoot him and kill that. So sure, a hierarchy of who can inflict damage on the good guy is very evident in this movie.
Greg: The higher on the, the cast chart? Basically. Yeah.
Joe: Exactly.
Greg: Oh, I just thought of a, a drinking game that I forgot to write down. And it is, any time there’s noticeably digital blood splatter, which makes you kind of go, that’s gross. And also, what am I doing with my life watching a movie that has digital blood splatter?
Joe: Yeah. All right. I’m adding that to tropes. Yeah. And what was the one that you said? You said it really good for the the hero with nothing to live for that one. Yeah, yeah. Who then threw surviving a movie find something to live for.
Greg: Oh, interesting. Wow. Let me give you one little bit of trivia that I thought was interesting. According to the director, the nationwide ban on firearms on location in India was so strict that the production had to import rubber prop guns without any moving parts for the first major action rescue sequence, for example, these dummy weapons were used exclusively without any blank rounds being discharged.
Greg: The entire sequence had to be digitally animated in post to give the impression that shots were being fired.
Joe: Is that the one right in the room with the kid? Like the first extract? Because there aren’t a lot of gunfire in that scene from what I remember too.
Greg: Yeah, I guess that would be yeah.
Joe: Interesting.
Greg: I like that, though, you know, that again, can just be entirely fake. And I always worry about people. Yet when I watch these movies, I’ll just assume they’re all rubber. All right, Joe, should we get to some important questions?
Joe: Yes. Let’s do it.
Greg: Did this movie hold up then in 2020.
Joe: 100% held up.
Greg: Then I might go 110.
Joe: Yeah, 110. Yeah, yeah.
Greg: Does it hold up now?
Joe: Yeah. Even better I.
Greg: 120.
Joe: Yeah 120. These kinds of movies like John Wick movies and the bullet train and those. And this one. Yeah, I appreciate them. More on Future War on second and third watching, because I notice more of the intricacies of the action sequences, like the first time through. I’m just kind of it’s like overwhelming. And now that I know, like I am looking forward to liking this movie even more the third time I watch it, you know, and then rewind this single shot.
Joe: So I 100% feel like this movie holds up and keeps getting better because it’s they are so chaotically brilliant in their action. Yeah.
Greg: There are so many talented people that they can tap into to make these movies. I wonder if it’ll stop holding up at some point. We’re gonna need to watch extraction again in a couple of years and see you still holds up.
Joe: Yeah.
Greg: Probably all the movies we do. We’re gonna have to start rewatching to see if they hold up to answer this question. Okay? Do they sell the good guy?
Joe: I think a little bit, but I feel like it’s one of those movies that they show you him, like how good he is in the first action sequences, but they don’t really sell him. Yeah, the way they do, it’s like John Wick where they have a whole scene where he is who we send Joe. Bobby.
Greg: Yeah, they show. They kind of do show, don’t tell.
Joe: Yeah.
Greg: Which is one of the reasons this movie is great. Do they sell the bad guy.
Joe: 100%, throwing children off of and cutting fingers off? Yeah, that is for sure a great bad movie trope.
Greg: And they do talk about fearing the bad guy like they do sell the bad guy a little bit in dialog. When the guy is talking to his wife like, I have to go do this, I have to go get this kid back.
Joe: Yeah. And there’s a scene when they have, like, the bad guy where they, like, put his face up and his stats and like, he’s like so-and-so. But if so-and-so were even worse, you know, type of sure. Yeah.
Greg: So, so it’s a great movie because they don’t really sell the good guy. It’s a bad movie because they sell the bad guy. And then, yeah, it’s that’s the sandwich that makes a great bad movie. Okay. Exactly. Does it deserve a sequel?
Joe: So many sequels. Yeah. There’s so many people to extract.
Greg: An unlimited amount of extractions should occur in the next 35 years. Yeah. Does it deserve a prequel?
Joe: No. I’m sorry, it doesn’t. I would watch it grudgingly and probably enjoy it. I’m not gonna lie.
Greg: I am a hard yes for I think it needs three prequels. I think we should call them episodes one, two and three. And it’s where we slowly find out how David Harbor goes from being a sweet little kid to becoming Darth Vader.
Joe: Okay.
Greg: What do you think?
Joe: Okay. Only if we can get George Lucas.
Greg: Yes, obviously. Who will keep working on it? Let’s keep working on it. Yeah. That’s perfect. Joe, why is there romance in this movie? There isn’t. It’s beautiful. We’ve got some good news for you, everybody.
Joe: Yeah. There’s none. None to be had.
Greg: Joe. We’ve had people for loving this movie.
Joe: No, this is a great, great movie. I’m still on that island. We’re great people.
Greg: Okay. What album is this?
Joe: This one? I took a long time to figure out, but I landed on an album from our youth. This is Bush 16. Stone.
Greg: Wow. Why?
Joe: I feel like in a lot of ways, it was derivative of other albums that came out, but it’s still a really good album.
Greg: Okay.
Joe: You know. Yeah. And so that’s kind of where I came from. Like this isn’t John Wick kind of changing the face of action and being a moment in time with that.
Greg: Sure.
Joe: But it’s doing some really good stuff. And so while Bush kind of gets a bad rap and a lot of ways that album is a really good album and there’s some really great songs on there. Yeah, and yes, it is kind of shades of Nirvana and and Pearl jam for sure. They’re still really good. So what album is it for you?
Greg: Okay, so I thought of it through like, we know and like Chris Hemsworth before this movie comes out. We like him, especially in an ensemble like the Marvel movies. He’s a really good addition, maybe one of my favorite people in that ensemble. Eventually, by the time Infinity War. Yeah, he’s super funny. He’s anyways, we know that we like Chris Hemsworth, but we’ve mostly seen him in a group in the past, and now he’s kind of off.
Greg: He’s he’s made a few movies on his own and they’re punching above their weight. They’re surprisingly better than I would have thought. And so I think this movie is a Harry styles album.
Joe: Oh all right, I mean.
Greg: He’s out on his own and surprisingly good.
Joe:
Greg: Like his second album was my fave, one of my favorite albums of the year a couple years ago whenever that came out. So yeah, this is the second Harry styles album.
Joe: And that’s one that has as it was on it right. Yeah yeah yeah. Oh my god yeah a yeah I get it 100%.
Greg: How could this movie be fixed aka who should be in the remake?
Joe: I don’t feel like it should be fixed. I don’t think it needs a needs, a remake at all. I am running back. Oh, we did extraction, too. So. Yeah, I feel like. Okay, I don’t feel like it needs to be fixed. I would say they kind of do this in the second one. Is adding a little bit of humor a bit more.
Joe: Yeah. Do it.
Greg: Yeah, sure.
Joe: They expand the cast a little bit. So you have a little bit more other people involved. Yeah, that are awesome. I still have myself like 30 minutes left of the second one, but that one, there are some just spectacular fight scenes. Again, their action sequences in that do what you want in a sequel kind of up the, up the ante a little bit with.
Joe: Yeah.
Greg: So yeah, I am always up for messing around with something, giving it another try. And so I think every time they make an extraction movie, it should then immediately be remade with the cast of Mamma mia! Singing their way through it.
Joe: Okay, you won me over. Shot for a shot, but with.
Greg: Shot or shot. Yeah, but in the. But it will sound a lot like ABBA.
Joe: Okay, I’m in.
Greg: All right. It’s time for us to rate. We’ve already rated this movie. Is this a great bad movie? Good. Okay. Bad or awful? Bad movie.
Joe: Joe, I can be talked into a great bad movie, but I still think this is a great, great movie. I like every time we talk about these movies, even when I walk in feeling a little down on them, we start talking about them. This movie is so much fun to watch, so I think it’s a it’s at least a great bad movie, if not a great, great movie.
Greg: I’m with you. I called it a great bad movie, but I also put an exclamation point there.
Joe: So yeah.
Greg: Extraction from 2020. Keep it coming, guys.
Joe: Yeah. So, Sam Hargrave, whatever you’re doing, keep doing it.
Greg: Absolutely, absolutely. I actually emailed them after the second one came out. I found his email online and he did not email me back.
Joe: That’s weird.
Greg: No, but I let him know. I sent him a note of congratulations. All right, Joe, we made it.
Joe: We did it. We had the conversation that needed to be had about extraction.
Greg: And, listen, this has been great, but, I need to, take a drink of beer and then jump off this hilariously large cliff into some water.
Joe: How? That’s interesting. I gotta go anyway. I have to fight a gang of children, so.
Greg: Oh, that’s great. Well, if you need a ride. I was thinking about just driving around and pretending I’m in a video game.
Joe: Oh, interesting. That’s nice. I have to go cut my finger off to prove that I’m tough enough to be in this gang.
Greg: So you know what? That totally works for me. Because I need to take a minute and see if I can fix the focus problem on my memories.
Joe: Damn it, that’s the winner.
Joe: That’s weird. I need to go have a ten minute single shot fight scene, so.
Greg: Oh, that makes sense. You know, while you’re doing that, I wonder if I’ll even be able to hear it because I’m going to be underwater, pensively staring into the middle distance.
Joe: That’s good, that’s good. I’ll join you as I fall off of a bridge shortly.
Greg: I actually oh, geez. This place is about to close. I got to get to, a place where I can get my swank gun fixed.
Joe: Okay, I’m going to go try to sneak across a bridge that has about a thousand soldiers on it. So.
Joe: That’s perfect.
Greg: I’m out.
Joe: Yeah, I’m out to.
Clip:
Clip: To do.