Subscribe on Apple Podcasts, Spotify, Overcast, Amazon Music, YouTube, or wherever you listen to podcasts.
This week on Vapid Bollocks, AKA The Right Side of Dumb:
This week, a love letter to Tony Scott’s patriotic, time-twisting thriller Déjà Vu. Denzel Washington stars as ATF agent Doug Carlin, who investigates a New Orleans ferry explosion—and stumbles into a government surveillance program that somehow also doubles as a time machine with excellent satellite coverage.
It’s part detective story, part love story, 100 percent Tony Scott energy: orange filters, low flying helicopters, Val Kilmer squinting, and an SUV that literally drives into the past.
Joe and Greg break it down, laugh a lot, and learn something about themselves along the way.
Note: This transcript has been auto-generated, so… You know… It’s not our fault.
Greg: Joe in the movie we watched this week. Denzel Washington travels back in time very specifically for days. What would you do if you could travel back in time for days?
Joe: I don’t even need to go back for days. I need to go back three days because I just hurt my back and tell myself to leave the book on the floor and not pick it up or bend down with my knees. That’s what I need to do. If anyone’s ever thrown their back out, it’s the most annoying, painful thing that’s ever happened.
Joe: And then I just, like, lay on the bed and yeah, basically didn’t move for 48 hours though.
Greg: Oh my gosh. Did you watch anything good?
Joe: I watched a lot of sports because it was Sunday. And then one day I watched Gunpowder Milkshake again. Again, definitely. We have to do that movie.
Greg: Worth the rewatch? Or would you tell yourself, hey, you’re about to throw out your back and don’t watch Gunpowder.
Joe: Milkshake again now? Worth the rewatch. I liked it more this time, actually.
Joe: I want many sequels of that, so.
Greg: This is kind of an amazing experience that you’re having right now, because you’re going back in time for days, then you have a day before you need to talk to yourself like you have 24 hours off. What are you going to do with 24 hours before you have to talk to yourself and say, don’t pick up that book.
Joe: I’m going to pull a Beth from back to the future, and I’m going to bet all the sports games that I know the outcome of, and I’m going to win like $1 million. That’s what I’m doing. I’m totally fine for nefarious purposes. That’s what I’m doing is amazing.
Greg: Amazing. Okay, back to the future too, by the way. There.
Joe: Yeah, for the first one. Sorry. What are you doing with your four days?
Greg: You totally just stole my idea. My.
Greg: I’m going to go back and change most of the sports, Ben. This past week that have led to my financial ruin. It’s been a rough week, and so. But I feel like if I changed all of them, the authorities would be on to me. I’m going to change about 80% of them.
Joe: Yeah I have like a seven game parlay and that’s you know some really weird.
Greg: Like last.
Joe: The last second field goal that is going to be at this be guarded at this time. Yeah. Yeah. Exactly.
Greg: No not those kinds of bets at all. My sports bets are I bet Josh Guy Tucker is not going to watch Godfather milkshake. And that’s where I lost all my money. It lost. All right, so we get to the show next. All right. You ready? Denzel?
Clip: Okay. All right. Okay.
Clip: It’s a phenomenon known as déja vu. It’s a phenomenon known as déja vu. You arrive at a place you’ve never been, but it feels familiar. You look into the face of a stranger, and you feel like you’ve known her all your life. Have we met? Yeah.
Joe: Yeah. Déja vu. If you think it’s just a feeling, go back and look again.
Clip: The year is.
Greg: 2006. Director Tony Scott teamed up with Denzel Washington to make a movie called Déja Vu. This is written by Bill Marceline and Terry Ross. You know, that’s going to be important later on. But in this movie, in this movie, we are talking about Denzel Washington, Paula Patton, Val Kilmer, Jim Caviezel, Adam Goldberg, Bruce Greenwood, and oh my gosh, Elle Fanning shows up for a second.
Greg: Joe Skye Tucker, we are continuing the Tony Scott and Denzel Washington dream team. We’re going to make our way through all five of these movies eventually on this show. But tonight, what makes Déja Vu a great bad movie?
Joe: It is classic Tony Scott. So I yeah, I’m in already 100%. You know, I think you and I both have just the biggest soft spot for his kind of movies.
Greg: Absolutely.
Joe: He’s the kind of director that, you know, instantaneously you’re watching one of his movies. There’s no mistaking his style. So a fair amount of our favorite directors utilize slo mo. Sure. He has like a particular way he uses it. I feel like John Woo loves the close up. Like hair in the face. When when there isn’t. When everything slows down.
Joe: Yeah. Tony Scott likes the ones where it’s like the scene doesn’t mean much, but like, Denzel Washington is like walking past and I’m looking back and they just slows it down just a little bit, maybe throws a wishing sound in. Sure. But I think I have a particular fondness for Tony Scott slo mo moments because I think it’s it’s perfect ever.
Joe: There’s so many quick cuts. So just from that perspective, it’s fun. This movie, not his best work, not his worst work either. Yeah, I felt like it ran a little long and I feel like an underutilized cast. Like you mentioned, we have Jim Caviezel, we have Val Kilmer and Adam Goldberg, and it’s really just Denzel Washington falling in love with Paula Patton on the screen.
Joe: Right? And lots of close ups. That’s the other thing that Tony Scott does is like close ups that are slightly too long, just a little like slightly uncomfortably too long. Yeah, it’s a fun movie. It’s an interesting idea borrows heavily I his next next does not next hasn’t come out yet but it’s kind of that idea of like.
Greg: A couple years later.
Joe: This isn’t 2011 or something like that for next, but.
Greg: 2007, it’s the next year.
Joe: Okay.
Greg: Don’t you wish next came out two minutes before this one did.
Joe: Or.
Greg: This movie had come out four years before. Next.
Joe: Yep.
Greg: Missed opportunity for those.
Joe: Two movies completely. But yeah. Greg Swinger, what do you think of Deja Vu?
Greg: This movie came out when I was kind of off again, on again with, Tony Scott. And I did see this back in the day, and I did enjoy it. But you’re right, this is kind of a lesser collaboration between the two of them. I remember I did see Taking of Pelham 123 when it came out, which is the next movie they made together, because I love the original of that, and I had real problems with it back then.
Greg: And so this is probably either second to last or tied for last with The Taking of Pelham 123 and their collaboration. Having said that, yes.
Joe: I’m interested.
Greg: I enjoyed this movie.
Joe: So much this week.
Greg: This movie is so much better than it needs to be at times. And then at other times you’re like, I don’t know if this is an entirely successful film.
Joe: Exactly. It’s perfect.
Greg: It’s perfect for a show because it’s. Yeah, it’s made by some of the most talented people out there. There are so many parts of this movie where what’s happening in the story or what’s happening in a scene does not deserve to be exciting. And Tony Scott just.
Joe: Pulls.
Greg: So many tricks out of his hat to make excitement where it is, isn’t even deserved. You know, people just having a boring conversation and suddenly there’s like one of those airboats, you know, the boat that has like the propeller on the back in the bayou and there’s like two helicopters within five feet flying so close to it as they’re going as fast as they can across the water.
Joe: It’s like, what.
Greg: On earth, Tony Scott amazing. I don’t know where the sun is setting and like, the camera is just twirling around people. Surprisingly, after Man on Fire, this is like a tastefully edited, edited movie. You know, that movie was just cutting to so many different kinds of cameras, so many different shots. This one is a little bit more calm, I think, but only by Tony Scott.
Greg: Stan. Yeah, you know.
Joe: I know I have a grading on the Tony Scott curve here, so yeah, I should say also within. Yeah I hit the camera. Never stops moving. It is just like cutting and moving.
Greg: Zooming. Yeah. And pulling back.
Joe: Yeah. Just constant. And I don’t mind it like.
Greg: You know I love.
Joe: It. Yeah. So obviously it works for us. And then there’ll be moments where that’s where you like I’ll have a close up with like the smooth jazz in the background. And he just holds the shot and it doesn’t move, you know romantic soft lighting. Oh it’s so good. He just knows. He does know every trick to pull out in these movies.
Greg: You can tell it. This movie was from 2006. This is Paula Peyton’s big break. This movie kind of opens up with he’s called to go check out a dead body in the dead body is Paula Payton. And you’re just kind of like, oh my gosh, that’s Paula Patton. Yeah, she’s for sure going to do more in this movie.
Greg: But probably the first time you saw it, you didn’t realize where the story was going to go. Just so awesome to see her in this movie and mostly able to command her performance the way she wanted. There’s some like, kind of like lingering shots on her as they’re like, voyeuristic watching her live her life. Yeah, it’s just like, this is ridiculous.
Greg: I really wonder if that was even in the script or if that was just Tony Scott being creepy.
Joe: Yeah.
Greg: No idea.
Joe: Yeah.
Greg: But the story of this movie is kind of interesting in that I think it is still the most that has ever been paid to screenwriters for a script. $5 million.
Joe: Wow.
Greg: And it was written by a guy who worked on Shrek. So obviously we’re talking about Hollywood royalty here. Yeah, he’s also worked on a bunch of the Pirates of the Caribbean movies, and another guy who hasn’t done a lot. They kind of came up with the script and have publicly said that they didn’t like what Tony Scott did with it.
Greg: They thought he kind of ruined their script. This is something I was thinking about today. Like somebody reads a script and they get a vision for it, and they want to capture how they feel while they’re reading it. And that might be totally different than what the writer was going for, you know, completely subjective. That was a random thought that I had today during a conversation with Adam McKay talking to Michael Lewis, and Adam McKay was talking about what it felt like to read The Big Short.
Greg: Michael Lewis was saying your movie was so different than my book. And he said, well, my movie was based on the reaction that I had reading your book, which is probably different than what you the intention you had writing it. So I thought that was interesting. Anyways, sidebar what stands out to you immediately when you think of the movie Deja Vu?
Joe: It’s to me, it’s a dream team to have Denzel Washington and Tony Scott together. It’s just something about those two. Yeah, you get real explosions and nice big slow motion, beautiful plumes of fire and smoke. It was. Yeah, it just was awesome. It’s an interesting idea. So basically, the premise is they have created a technology that can and they can’t really control it very well, but they can basically see anywhere within a certain radius within four days of when they are.
Joe: So they can look back for days. Yeah. So that’s interesting to me. So there’s a terrorist attack, the beginning of the movie, and they’re trying to figure out who did it.
Greg: Yeah a ferry blows up. Yeah. In New Orleans.
Joe: Yeah. And it’s a post-Katrina, kind of feel to it. Yeah.
Greg: The first major production to film in town after Katrina.
Joe: Yeah. So that you kind of have this interesting premise. I think this is where it falls apart a little better, too. It’s like they do a little too much explaining of the science of it. Right? A couple moments, you know, with Adam Goldberg and the team in the room. To me, the first conversation was I got it. They kind of a couple more times come around, and that is one of those, like, the less you think about this, the better.
Joe: Like I always say this about time travel like, the less you try to explain the loops and the timelines and where the the better because it just becomes so convoluted.
Greg: Agreed they were going for something a little different with this though. Jerry Bruckheimer, who was the one who bought the script for $5 million and produced this movie when he was promoting this movie, he said, this isn’t science fiction, this is science fact. And they had a professor from, one of the big minds from Columbia University on set explaining the science behind how this worked.
Greg: And he was the guy who was, like, taking a piece of paper and folding it onto itself and showing the corners and whatever, like they do in this movie. And so he, they were trying to actually just say what he had said, like, this is really a thing. This is probably more than a theory. We think this is really this really could be a thing.
Greg: So that’s what they were going for there, like some sort of legitimacy. And Tony Scott hated the science fiction aspect of this movie. And Quint, by the way. And then they did two weeks of rewrites to get Denzel more excited about the movie. So Denzel signed on and then called Tony Scott and said, please come back and don’t quit again.
Greg: And Tony Scott said, all right, interesting.
Joe: Yeah. I mean, it’s in a lot of ways it’s a love story between Paula Patton and Denzel Washington, and that I’m okay with that to a point. Again, this movie feel was as a little long for me. Also, it felt like and needed 20 minutes shaved off of it.
Greg: And yet I feel like it didn’t close all of the plot points that it had opened up or pay off. So many things.
Joe: Yeah, I the movie, it builds and I felt like I’m literally in my notes as I was watching this movie was like, oh, they fixed man on fire. Oh, you know, because you get to the end. It’s kind of a little bit like Man on Fire and I’m going to spoil some spoilers for this movie. But he figures out how to go back in time.
Joe: Sure. He’s trying to save Paula Patton. Stop the explosion from even happening. He’s able to do it. He blows up but the ferry doesn’t blow up. And then magically he like walks in at the end and meets Paula Patton who’s sitting there and they’re like have we met before? And that’s the deja vu moment. And I was like, why?
Joe: You ruined it? They ruined it. Let him be dead. That would have been the best ending.
Greg: Oh, did you like that? He died at the end of Man on Fire.
Joe: Yeah, I was fine with that. He needed to die with the butthole bomb. We’ve talked about this, right?
Greg: So they. Yeah. The BHB. Yeah. If you haven’t listened to our entire.
Joe: Episode, it.
Greg: Might be worth going back to because we discovered the existence of something called the Butthole Bomb. And that.
Joe: Movie.
Greg: Okay, so it should have been about the end of Man on Fire, so he should have passed away in this one. And then. And then it’s just Paula Patton being a little sad.
Joe: Yeah, that’s the end. But everyone can be happy that 500 and some bad people are still alive. The you know, they got the bad guy. All that. Yeah. To me that’s the the better ending of you know they’re like, well he’s got to come back.
Greg: My issue was I felt like it was pretty sweet at the end and we could have used a bit more conversation.
Joe:
Greg: It just kind of ends all of a sudden, which is kind of what old movies used to do. Yeah. Did you ever see that movie Sully with Tom Hanks. That movie, just like suddenly he’s on trial and then I think he, like, he wins the trial and he walks out and it’s over, and. And Clint Eastwood made that movie, and it was like, oh, man, Clint Eastwood is just doing like an old school ending where something happens and then the story just ends.
Greg: It’s just over, right? I kind of felt like this had old school, abrupt ending feeling to it, but not in a good way. This time I felt like, wait a minute, what? I could have used a couple more lines there of them. Connecting. Yeah, I didn’t buy that. They, you know.
Joe: Yeah, through time and space found each other and. Right. I agree on the ending. But once he appeared, I was so annoyed that they brought him back and I was like, I don’t care, fine, whatever. Because there was no logic to him coming back. I just never I did not like his timeline is that he dies. How is he back?
Joe: How is he alive?
Greg: It says four days later herself that died. Not his current timeline self that died. So the Denzel that showed up at the at the end of the movie was the Denzel that showed up at the crime scene at the beginning of the movie. Except he’s been through some shenanigans and adventures.
Joe: Okay, it’s my same problem with Edge of Tomorrow when they finally kill the whatever.
Greg: Spoilers for Edge of Tomorrow. What?
Joe: You haven’t seen it? They get the bad guy. Yeah. Go listen to our episode. It’s awesome. It’s a great episode, but it was the same thing. Like, it should have just ended, right? Right there. Yeah.
Greg: Did feel like that. You’re right. Speaking of the Edge of Tomorrow episode, that reminds me, did you ever get that thing from the fridge down your stairs?
Joe: All right, now hang on. I have to go grab something out of the fridge downstairs. Hold on.
Joe: Oh, my gosh, are you okay? I’m fine. It’s just me from four days ago, so everything is fine. Perfect.
Greg: Completely agree. Time travel is confusing and Tony Scott was not at all interested in that. The screenwriters were bummed that he turned this more into an action movie than they wanted it to be. He left a lot of things kind of hanging that were in the script that they thought kind of were tied up in a nice bow.
Greg: Having said that, though, there’s a lot of things in this movie that are like tied up with a nice bow. There are lots of nice little things that connects. It all kind of fits like a nice puzzle by the end. Not a perfect puzzle, but a pretty nice one. Yeah, definitely worth watching. This is like a four and a half star.
Greg: Two and a half star movie.
Joe: Yeah, absolutely. I agree, especially through the middle of the movie. I just I love every second of it.
Greg: When I finish this movie, I was like, okay, not the best. But like I would watch it Monday through Friday every week.
Joe: Yeah.
Greg: I might take the weekends off.
Joe: For me it’s even just like oh it’s a Tony Scott movie. So like anytime there are multiple helicopters in a shot I’m just like oh thank you. Thank you so much for this.
Greg: I really love that. You know that TV helicopter with the huge camera ball on the front.
Joe:
Greg: That’s his cheat. Like well the news is around. So but then they immediately cut to that helicopters shot of. Yeah. Flying over the crowd like oh no they’re just using that footage okay. Never mind.
Joe: Yeah.
Greg: He employs the news quite a bit in his movies. Yes I wanted to say about New Orleans they were planning this movie before Katrina and then Katrina happened. And then they were going to move someplace else. And then they decided, no, wait, what if we stayed and employed people here? And so Jerry Bruckheimer, when he was promoting this movie, I’m pretty sure he’s the one that was saying Denzel kind of insisted they stay there.
Greg: But then and in that same promotional stuff, Denzel Washington was like, no, I didn’t I don’t really care which way where we filmed, but I’m glad we stayed because it helped employ a lot of people. After a tragedy, there was a real opportunity in this movie to film New Orleans post-Katrina, sort of in a way, that 25th hour filmed New York after nine over 11.
Greg: You know, the subtext of that movie was what is happening in New York after 911? And it somehow didn’t quite fit, but spike Lee made it work. Edward Norton made it work. It was just kind of an amazing combination of those two things, the vibe of the city and post 911. I feel like there’s a missed opportunity in this movie where they could have done more with that in the plot.
Greg: I don’t know, they were already about to film, so I don’t, I guess I don’t know how they would have done it. There’s some pretty like weird shots of like kind of destroyed churches and stuff in the movie, just out of nowhere. It didn’t entirely fit. So I feel like a missed opportunity was really letting that be a subtext of the movie.
Greg: And I think it would have elevated Deja vu higher than it. It stands right now.
Joe: Yeah, I think I would be very curious how this stacks up with the original screenplay, because it does sometimes feel a little bit like two different kinds of movies. There’s kind of the time travel action scenes, and then there’s the Paula Payton Denzel Washington relationship and that kind of ends up dominating the last half of the movie, where it could have kind of gone a different direction, I think.
Joe: And could I of utilize the city more? I think absolutely. They could have. Yeah. It does feel like a little bit of a film fighting with itself at different moments. But there are still great action scenes. It opens with a great explosion on the ferry. Yeah, yeah, it’s terrifying and awful. And we have, you know, slow motion looks in the middle of chaos in the middle of it.
Joe: And, you know, it’s.
Greg: 100%.
Joe: Silent as people hit the water, like all my favorite tropes and stuff like that. And then there’s some really fun action sequences that happen throughout the movie. You know, I would have loved a little bit more action, because I do think that Tony Scott is an underrated kind of action director. I don’t know that I’m trying to think of like a genre.
Joe: I would put his movies in. He’s probably an action ish, but it’s more like, is that John McTiernan, action director?
Greg: This movie felt a lot like enemy of the state to me.
Joe: Yeah.
Greg: The Tony Scott ness of the cutting and, and the, the Snow White machine. Is that what it was called. I just thought he was the perfect person to help visualize that stuff in kind of a elevated thriller kind of way, I guess is maybe what I would say, you know, like enemy of the state was just awesome when it came out.
Greg: So yeah, thriller, I think he makes thrillers.
Joe: Yeah, I would say I would agree with that.
Greg: So yeah. So there were aspects of this movie that were just like operating ten out of ten in my book, you know, like the Snow White machine, the way that that machine just seemed to be edited like a Tony Scott movie.
Joe: Yeah.
Greg: Perfect. You know, the footage it was providing was just perfect, you know? Yeah. You know, whenever a Humvee is driving down the road, it’s just the camera is just madness. But this movie is a little bit more interesting when I think about it, rather than when I watch it. I think maybe, you know, like, that’s a good idea.
Greg: Like his his car chase where he’s chasing Jim Caviezel, you know, he’s in today. He’s driving down the wrong side of the street. Yeah, he’s chasing Jim Caviezel. Four days ago, that mostly worked.
Joe: Yeah.
Greg: I’m not afraid to say it didn’t entirely work, because apparently in the DVD commentary, Tony Scott said, this is I kind of did a mediocre job directing this scene.
Joe: In my notes. I remember saying, wow, this Humvee is taking a lot of punishment that just like, crashes into everything and just keeps on going. And yeah.
Greg: Yeah, and it’s like cars are crashing into each other and like, flipping through the air kind of fast five style.
Joe: Yeah, seriously.
Greg: I did love that. Denzel Washington is just kind of parked on the road, and it’s almost like he’s staring Jim Caviezel from four days ago in the eye.
Joe:
Greg: And then a truck goes directly into Denzel Washington’s Humvee. But it’s not like the truck is driving forwards. The cab is going forwards but the box behind it is sliding sideways. Did you notice that. So the truck takes up the whole frame.
Joe: No I miss.
Greg: That. Like the back wheels are like 20ft to the left and they’re skidding us. A truck is doing something a truck would never do except in the Tony Scott movie. You know what I’m saying? It doesn’t make any sense. But it was at the same time perfect. And then Denzel Washington just gets a little cut on his lip and he’s fine.
Joe: Yeah. No whiplash. No. No nothing. Yeah. Keeps on driving. Yeah. There are moments where it’s like there’s only one man that sells this kind of nitro. There’s only one director I’d want directing some of those scenes, and Tony Scott is that person. And then there are other moments where I’m like, well, maybe, maybe you could have like, thought about this a little bit more because I totally agree.
Joe: Like the Snow White machine, that’s perfect. Like Tony Scott is the absolute perfect director for that. Totally. You kind of want to make a romantic movie. I don’t know if Tony Scott is my first call, you know?
Greg: And what’s the deal with the romance in this movie? Is it because I think of Denzel is kind of an older dude and Paula Patton as a younger person in this, there’s like 21 years, I think between them it’s just enough time or is like, what are we doing here?
Joe: Yeah.
Greg: Maybe because it’s 2025 and it’s just we’re down the road, you know, like I’ve seen them in equalizer three. I know that he’s an old man.
Joe: Yeah, yeah. It doesn’t quite land for me. And I kind of know what they’re going for. Like this voyeuristic love that he has. But to me that falls a little flat. A couple things that I noticed also with his character. He never flashes a badge. Did you notice that.
Greg: Oh interesting.
Joe: Throughout the entire movie he does like I’m with the ATF and everyone just like okay he’s.
Greg: A little famous. Yeah he’s a little famous.
Joe: And then he goes into the autopsy and the first scene and he’s not wearing gloves. That bothered me so much. Yeah. And then they make this huge point about him putting on gloves in her apartment, because then they find his fingerprints there because of the time loop and all of that. Right. But I was grossed out, quite frankly.
Joe: Then there he is, like, yeah, touching the lips of a corpse with his bare hands, you know, like there’s no way that anyone would allow that to happen.
Greg: So 100% there is something we need to talk about here. Okay. And that is Val Kilmer is in this movie.
Joe: Is he.
Greg: What is he doing? He is rock solid.
Joe:
Greg: Just an absolute foundation. Core backbone. Whatever you want to say.
Joe: Yeah.
Greg: He is so good. But what is Val Kilmer doing in this movie.
Joe: All I can assume is that there’s probably five hours of a different film, like on the cutting room floor, where it’s a completely different cut of the movie and Val Kilmer and like that crew has a much bigger part in the entire movie because it is a completely under utilized. I love Val Kilmer. I think he’s great, right?
Greg: Yeah, totally.
Joe: You know, he was like one of those he’s one of my favorite actors. So I was so excited to see him in this movie. And then he’s in 3 or 4 scenes total.
Greg: And I had a similar feeling ten years before when he was in heat. He was definitely a presence in the movie, but he wasn’t doing a lot. Yeah. And I was kind of like, wait a minute, that’s movie star Val Kilmer. Yeah. And then after heat just kind of like, that’s amazing that he did that. You know, it just has, like, text trouble all over it.
Joe: You know, it’s like, I need a job.
Greg: Showing up for a paycheck.
Joe: Yeah.
Greg: Doing it better than anyone could.
Joe: But it’s just a.
Greg: Surprising role for Val Kilmer I don’t walk away thinking how great Val Kilmer was other than I mean he wasn’t bad. Yeah. You know you know who he was in this movie. He was the sound guy at a concert. Yeah. And you only notice them when the sound gets. When something goes wrong.
Joe:
Greg: You never appreciate them for all that they’re doing. Right when nothing noticeable is happening. So he’s doing a sound man part.
Joe: Yeah. Even Bruce Greenwood and Adam Goldberg in this, this is kind of when Adam Goldberg would pop up in movies and he’s kind of the comic relief. Yep. Sidekick. Funniest guy in the room.
Greg: Amazing hair.
Joe: Yeah.
Greg: Adam Goldberg’s hair in this movie is 11 out of ten.
Joe: Yeah, yeah, but then he does it. He’s not given a lot to do either.
Greg: Well, he does get to yell, I need more cowbell.
Joe: Yeah, I just like I feel like there are multiple cuts of this movie, and the one that they chose might not be the best one necessarily. Yeah, yeah. Adam Goldberg is great movie. Yeah. He is.
Greg: So funny. His hair. I just stared it. I rarely notice people’s hair. I just stared at his hair. What do you.
Joe: What’s going. I so hope that when. When do you do the poster for this movie? For that, it’s just Adam Goldberg’s hair.
Joe: Totally.
Greg: Totally. There was a bit of shades of diehard, too, in this movie where they all knew Denzel Washington because of Oklahoma City and what he had done.
Joe: With the work.
Greg: There.
Joe: Right.
Greg: And that was a little bit like Die Hard two. And wherever John McClane went, they kind of recognized him from the plaza.
Joe:
Greg: Should we hear some clips in this movie?
Joe: Yeah, let’s do it.
Greg: We were talking about the car chase listener. If you haven’t seen this movie, this is what 40% of this movie is like. Denzel Washington is out on some adventure, and people in the Control Center are staring at a screen and reacting. This is what a very large chunk of this movie was like.
Joe: Sam hand, right hand, right. You still Sam? He’s at the end of the French army.
Clip: He’s at the end of the bridge.
Clip: Keep talking to me. I don’t know what else to tell you. I feel very, very close to you. Right.
Greg: He took the exit, right. And just out of nowhere. And I’m going for it.
Joe: Yeah.
Greg: Drops the joke. Three seconds before that, he was standing, walking around, talking. And then at that one, he’s just, like, hunched down, sitting there. He’s like his chin on his hands. I want to say.
Joe: It’s.
Greg: Like I don’t even know what to say to you.
Joe: Yeah.
Greg: Total non-sequitur. Yeah, we needed a laugh right there. And I rewound the three times. It made me laugh so hard.
Joe: So great.
Greg: Should we talk about Jim Caviezel?
Joe:
Greg: Where were you with Jim Caviezel like in 2006.
Joe: He’s one of those. He’s a that guy until I think The Passion of the Christ really propelled him forward. Right. As I don’t want to say a movie star, but put him for a little while on the map because that movie was so big. Yeah. And then he’s also from the northwest here. So there’s.
Greg: Vernon. He’s from Mount Vernon.
Joe: Yeah. So we have some like kind of local connections to him.
Greg: But I think this was the first big movie he was in after that.
Joe: Okay.
Greg: And so it was kind of like he was doing like Jesus in one. And then super bad guy. Yeah. In another.
Joe: Again it feels like he’s underutilized in this role. We don’t even really know much about him or his motivations or. Right. They’re just trying to find him. Like that’s the whole thing is there. You know, the conceit of the movie is he kills Paula Patton. So if we follow Paula Patton around, we’ll run into the killer and the terrorist who blows up the ferry.
Joe: And so I was like, okay, that’s the theory here, but he’s not given a lot to do, honestly, in this movie. So it feels like, again.
Greg: Missed opportunities there sometimes when he’s interrogated by, Denzel Washington, where there’s a two shot, you can see both of them, and I feel like Denzel Washington is doing some stuff that was not in the script. Which on Man on Fire, we learned that’s what Tony Scott loved about Denzel Washington is he doesn’t do the same thing.
Greg: Take to take. He finds a new way to surprise everyone every take. And so there’s one where, Denzel Washington, he starts laughing at Jim Caviezel and grabs his water glasses, says, what are you drinking here? And he starts smelling it like, what’s going on here? And Jim Caviezel kind of sort of cracks a smile while he’s doing his his, like, intense performance.
Greg: And it just seemed like, I bet these guys were having a good time doing this. I bet Jim Caviezel learned a lot from Denzel Washington that day. Yeah. You want to hear a little bit of them in that interrogation?
Joe: Sure.
Clip: This case will never even go to trial. No, because I see what’s coming. Did what? What is in this? Glenn, you’ve seen what’s coming. Okay? What’s coming? You tell me. I told you earlier, I have a destiny purpose statement. Reasons like man, God thinks for eternity. I prostrate myself before a world that’s going to hell and a happy is in all eternity.
Clip: I am here, I will be remembered. That’s destiny. Obama has a destiny, predetermined fate set by the hand of its creator. And anyone who tries to alter that destiny will be destroyed. Anyone who tries to stop it from happening will cause it to happen. And that’s what you don’t understand. We’re not here to coexist. I’m here to win.
Clip: So you better have some divine intervention, buddy. You’re going to need it. You better have some. Why? You’re going to need it.
Greg: Pretty interesting. Next role for Jim Caviezel.
Joe:
Greg: There was apparently a scene that, was in this movie when Denzel Washington gets to the ferry and he sees Jim Caviezel and he goes, Jesus! And in the test screenings, the crowd would all laugh.
Joe: Awesome.
Greg: Because they thought it was like an inside joke, you know? Yeah. And Tony Scott hadn’t even remembered, I guess. So they cut the line because they just made every. Yeah. They didn’t.
Joe: Laugh.
Greg: Anyways. Interesting. Interesting role for Jim Caviezel. Val Kilmer and Tony Scott had had shirts made up while they were filming this saying something like we’ve got Malcolm X, Jesus Christ and Jim Morrison, how can we lose that? They made those shirts for the for the people on the set. Bruce Greenwood incredible. Yeah, let’s hear them sort of sell the good guy.
Greg: This is Bruce Greenwood in Val Kilmer. So he’s a former marine?
Clip: Yes, sir. Yeah. Local two. He’s born and bred in New Orleans. His family still in the area? Nope. That’s not really what his job you like, it’s Mark? Yeah, I like it. All right, let’s go find him.
Greg: I feel like Bruce Greenwood could just run anything.
Joe: Yeah.
Greg: Interestingly, though, I think Denzel Washington had just walked away.
Joe: I think so. Yeah. He was like pretty close by.
Greg: How hard will he be to find.
Joe: Yeah.
Greg: Well to explain this movie real quick there’s a ferry that explodes like you were saying, Paula Patent’s body washes up with residue from the explosion, but they determine her time of death was like before the explosion, like a couple hours before the explosion. And so, in a fairly confusing, plot heavy movie, if you’re not really paying attention, Denzel Washington walks up to the good guys and basically explains the whole movie to them.
Greg: Why this whole plot makes sense. And I was just like, I really appreciate whoever put this scene together for me, because this makes a lot of sense. So here’s Denzel Washington explaining the plot of this movie.
Joe: Okay, perfect.
Clip: AJ McCready. Yeah. Doug Collins, ATF. Oh, yeah, Oklahoma City, right. This afternoon, I witnessed an autopsy video of a young woman who washed up all fallen wharf, heavy fuel burns, traces of DNA on her face. PETN. That’s the face explosive used by domestic terrorists. She also lost several fingers in what appeared to be glass damage appeared. That’s right.
Clip: I checked the tide tables against the position of the blast. For her to have washed up that early and that fall river, she would have had to have been killed two hours before the ferry exploded. Before.
Clip: She died before the explosion. She died before the explosion? Yeah. Her name is Claire Crouch. Over. Do you have a scenario? Yes, I do, I believe that somebody abducted her in our home, taped her mouth, found a receipt, burned her alive, dumped her in the river so she would appear to be just another disaster victim. But on that one, our disaster.
Clip: That hasn’t happened yet. But the pattern tells us that the bomber came in direct contact with the victim. You saw her case. You solve this case? Why this woman? Good question. Her SUV is missing. Its, tan and red Bronco. It, could have been stolen to drive the bomb to the ferry. Oh, one more thing. The victim called the local ATF office the morning of the explosion.
Greg: I need to point out that Denzel Washington, at that moment, he changes his face to be so expressive and loud, his eyebrows go up. He has this crazy smile on his face. This is exactly what Tony Scott was talking about. Just like.
Joe: He just.
Greg: Would just surprise us with something.
Joe: Yeah.
Greg: So then he’s just like old, quizzical and like, funny. And he does. What is my favorite signature? Denzel Washington thing. Which is okay. All right. Okay. So here we go. Right here.
Clip: Okay. All right okay.
Greg: And he walks away.
Greg: I think I mentioned this is a man on fire, but whenever I’m watching a baseball game and there’s a tense moment and then the batter hits a foul ball. So we’re still in the tense moment. In my head, I hear Denzel Washington just go, okay.
Joe: All right. Okay. All right. Awesome. Nice. So this has happened in a couple of our movies, including The Transporter. This one, and maybe even one of the last ones we saw. It’s where a car is driving really fast toward a railing. And instead of just, like, crashing into the railing, it jumps over the railing or through the railing.
Joe: Perfectly. So they do this like when he’s driving the her car with the bomb off the ferry. He like drives that into the railing and it just flies through the air and lands in the water and starts to sink instead of just crashing into the railing. Which is probably what happened because I would assume that on a ferry, they don’t want people driving into the railings and then flying off of that.
Joe: So I may add that as a new trope, just because we’ve seen it enough in our movies. But I get a kick out of those little moments of like, oh, all right, I see. I see what you’re doing there.
Greg: I love it, I love it. That’s amazing. I love the the leaps in logic this movie has where he goes to the place where the super secret Snow White machine is, and then he just gets up, hops in a Hummer, drives the Hummer out, and is just almost like immediately talking to them on the phone.
Joe: Yeah.
Greg: He’s he’s called the speaker phone of the super secret place he just left.
Joe: Yeah.
Greg: And there is no talk of call us at this number. There’s no.
Joe: No.
Greg: Talk of anything.
Joe: The best speaker phone flip phone you’ve ever seen.
Greg: Oh, greatest. It’s so nice. Right?
Joe: It’s before they kind of figured out the like trick of like, well, we have our comms in, so Mission Impossible style, so they just, like, right know when they’re talking to each other and when they’re not. And it’s perfect.
Greg: So and then they’re just watching him on a screen and he’s just driving around. And that was that scene we heard really just incredible incredible stuff.
Joe: Yeah.
Greg: But then he goes to the scene of the place where the bad guy, long story short, he kills that, Denzel Washington’s partner, whatever that guy’s name was.
Joe: Mandy.
Greg: Yeah. That’s right. Mandy has been taken there. So Denzel goes there, he sees, like, the building is like, exploded. There’s an ambulance, like, crashed into it. Then he’s looking at the ground, seeing, like, some shenanigans just happened here. And suddenly, like, there’s an emotive moment where they’re watching for days ago. He can’t see that, but he’s seeing the remnants of it, and they’re kind of talking back and forth about what they’re seeing at these different places.
Greg: And he says, brace yourselves. I think you’re about to witness a murder. And then they see the bad guy kill Mandy four days ago, and it’s given like a real wait.
Joe: You.
Greg: Know, as as great of a great bad movie. This was there’s still, like, some humanity to it that in lesser hands, it would have been horrible, you know? Yeah.
Joe: Those are the moments that Tony Scott is the perfect director for it.
Greg: Yep. Like it’s been nuts. So he can slow it down.
Joe: Yeah, exactly. Like everything is going fast. And then all of a sudden everything stops. I bet he even slows the frame rate down on everybody. Yeah, it just like everything, the whole world just comes into focus on that one moment and we feel the weight of it. Like you said, it’s really good. Yeah. That is where he is at his to me, his best of like taking the chaos and then it stops for a second and then it keeps going.
Greg: So I’ll be honest, I did ask a few times while I was watching this movie what was Denzel Washington attracted to in this movie? There must have been better stuff around. In the same thing with Tony Scott. What was Tony Scott spending his time on this? Because it doesn’t seem to be adding up the way I want it to, but then we get to this kind of moment.
Greg: It’s like, well, at least Denzel Washington and Tony Scott are making this movie because this scene is more impactful than it would have been otherwise. Yeah. So, you know, I’m both kind of questioning it and thankful for it at the same time.
Joe: I think I was in the end of that scene that you played. I think there’s another Tony Scott ism. It’s the, trumpets or the like. Yes. Especially when it’s like a patriotic moment. I can hear the sound of those trumpets in my head. I’m like an American flag, like waving and like, maybe Marines marching or something like that.
Joe: Like.
Greg: Right. Like I haven’t seen revenge, but didn’t that have, like, Marines in it?
Joe: I think so, yeah.
Greg: Kevin Costner, I’m just assuming the trumpets in there as well. Obviously, Top Gun with the Navy. Yeah. What’s the deal with the ferry? At the beginning, it’s just crawling with military families. Yeah. What’s the deal there? What are you doing, Tony? Scott.
Joe: I think they’re just trying to raise the stakes a little bit on. Yeah, the terrorist attack taken out, and.
Greg: It really is jarring.
Joe: Yeah.
Greg: Well, Joe, it occurs to me that there’s probably some people listening to this who, for whatever reason and listen, we all have things going on in our lives. Maybe they haven’t had a chance to check out Deja Vu from 2006 yet.
Joe: Obviously.
Greg: And so they might have no idea what we’re talking about. So let’s pretend we’re walking down the aisles of Blockbuster Video. We’re renting a movie for the Night Old School, when you would pick up boxes from the shelf and read the back to see if it was what you were in the mood for that night. That’s right. It’s time for the back of the box.
Joe: It’s the back of the box. When terrorist attack a ferry in New Orleans, the manhunt begins to find the person responsible. ATF agent Khalid Denzel Washington gets recruited by a special task force that has technology that can see into the past. Can they catch the terrorist? Can they stop the explosion altogether? As they race against time, the stakes get higher and higher.
Joe: The ending will leave you breathless as all the stories converge.
Greg: Wow. Do you usually say this movie has everything?
Joe: Sometimes.
Greg: Okay, okay.
Joe: I try to say, because there’s I it’s a very cliche, trope filled like experience, right? The back of the box. And so yeah, yeah, I have often said this movie has everything, and I try not to repeat myself too frequently.
Greg: If you don’t say that is it implying that this movie doesn’t have everything it might?
Greg: Okay, well, on that note, that’s the marketing. Back to the box. But let’s get down to honest town, Joe. Let’s get to the real back of the box.
Joe: So the real back of the box is really my love letter to Tony Scott. So first off, tip of the cap to Tony Scott. He is a one of a kind filmmaker. His films feel visceral in a way that most films do not. Deja vu is packed with his signature flourishes, including more edits and cuts than you can handle slow motion, sepia tone, color, story and contemplate of close ups that lasts just a little too long.
Joe: This movie is not his best, but not his worst. The fan makes a strong case for this distinction. It does run a little long, and I was relieved when it finally ended. So that’s my real back of the box.
Greg: You know, it’s a real back up, back in the box when you’re willing to, like, throw another movie under the bus. Yeah.
Joe: Exactly.
Greg: This movie isn’t as bad as the fan. You should.
Joe: Rent that. Yeah, exactly. It could be worse. You could have rented the fan, which, for our listeners, without looking it up, can you tell us who starred in The Fan?
Greg: Are you asking them? Are you asking me?
Joe: I’m asking them. I know, you know. Okay, so yeah.
Greg: That was Wesley Snipes, right? And Robert De Niro. Yeah, yeah, we saw the movie.
Joe: The theater back in the day. Absolutely.
Greg: Okay, well, Joe, should we get to the box office and the reviews of this movie? Let’s cut to the chase.
Joe: Absolutely.
Greg: It’s budget with $75 million. How does that feel for you in 20 years ago? 19 years ago.
Joe: It feels about right. Yeah.
Greg: Nothing too crazy.
Joe: Yeah.
Greg: Tony Scott complained that he only had 19 weeks to shoot this movie in the DVD commentary.
Joe: Okay. A track which is just.
Greg: Incredible to me. Whiplash. The movie was filmed in like 19 days.
Joe: Yeah.
Greg: This movie made $64 million in America. It made $116 million internationally. So it made $180 million.
Joe: Okay, so it made some money. You have to.
Greg: Think this made a lot of movie on cable.
Joe: You know.
Greg: Being licensed to different cable channels. Luckily, it’s from, you know, 19 years ago. So we have some information about home market performance, home rentals as well from the DVD and Blu ray sales. They think it made about 42 extra million dollars.
Joe: Wow. Okay. Yeah. So it did well.
Greg: So Joe, this movie has 160 reviews on Rotten Tomatoes right now. What do you think the critics score is on Rotten Tomatoes for Deja Vu?
Joe: I mean, it’s or it’s a 70 feels like a 70. So you know. Yeah.
Greg: Yeah. Like it’s not amazing, but it has a lot of really good stuff.
Joe: Yeah. Yeah.
Greg: Feels like a 70.
Joe: But my actual guess I’m gonna put it about a 55.
Greg: Joe, this movie has a 55 on Rotten Tomatoes.
Joe: Nailed it. Bring me to your next party. And I will guess right now we get those scores.
Greg: All right, so let’s get to the audience. Score the popcorn meter. Luckily for us, assuming these are all human beings and not bots, it has to hit over 250,000 ratings on it. What do you think the audience score of this movie is?
Joe: I think it’s like a 60, 73, 73. Wow. Higher than I would have given it.
Greg: Totally. Totally. Yeah. All right. Well, let’s hear what some of the critics said about this movie. We love to start with our hometown paper, the incredible. Moira MacDonald reviewed this for our hometown paper, The Seattle Times. She says the movie’s saved by an appealing star, a swift pace and a vivid setting. Two and a half out of four stars.
Joe: I would agree with that.
Greg: Stephanie Zucker from Salon.com says Washington is so casually, inherently likable that he makes wending through the movie’s multiple implausibility easier to bear.
Joe: I’m trying to think if there’s another star, I’m sure there could be. But without Denzel Washington.
Greg: Yeah.
Joe: Where I mean, this movie, this to me is pretty hard to watch.
Greg: Probably Nicolas Cage is on the list.
Joe: Okay, I agree.
Greg: Especially with Jerry Bruckheimer at that time, he probably feels like he missed out. So he made next the next year.
Joe: Yeah. It’s a totally different movie with Nicolas Cage at that time. Who’s the big who’s a bigger star than Denzel at this moment. Because this is him like on a run. He’s just he’s got training day and they just like propelled him.
Greg: I mean I’m sure Tom cruise was attached to this because he’s attached to everything before he turns it down. Bruce Willis was probably asked.
Joe: I would yeah I okay, Bruce Willis I would have liked to see this, but I wonder if he turned it down because he did. 12 monkeys already had a time travel movie.
Greg: You can only have one.
Joe: Can I have one? Kind of breaks breaks the space time continuum.
Greg: He did Looper a couple years after this. I had some time travel.
Joe: Stuff that blows my theory right out of the water.
Greg: Who else do you in 2006 do you throw at this? Ben Affleck probably in the mix.
Joe: Probably Matt Damon? Yep. Wait, when does Fast and Furious come out? The fourth one.
Greg: 2009.
Joe: Okay, so maybe Vin Diesel Paul.
Greg: Walker has already done timeline.
Joe:
Greg: Statham is around.
Joe: Them. Yeah I would totally watch Jason Statham.
Greg: Michelle Rodriguez I’d give it to her in a heartbeat.
Joe:
Greg: Specifically if she’s playing Letty. Letty on a side adventure in the Fast and Furious movies.
Greg: Jordana Brewster.
Joe: Is this really the prequel to Fast and Furious about this is.
Greg: Yeah. This is what she was doing dirt. Well, Paul Walker was in Miami.
Joe: Yeah. I think two.
Greg: Fast, two furious.
Joe: Wait, that Vin Diesel direct. This is it’s a prequel.
Greg: This is June Bain. Valero. Before he made Lois Pan hilarious.
Joe: Yeah.
Greg: Holly Berry.
Joe:
Greg: Charlize Theron.
Joe: Yeah. You know recast a little bit of it but not a lot. Yeah.
Greg: And it would have been less creepy I think if a woman was being a little bit voyeuristic towards a man in recognizing he’s one of the good ones.
Joe:
Greg: I want to save this guy because I’m falling for him I think, I think I would have liked that more than a dude falling for it. A girl 20 years younger than him, I guess a woman.
Joe: Or they make the person who dies somehow connected like like a family member, you know. So it’s Denzel Washington’s estranged sister, you know, something like that. Where they can the Titans, the like mania of trying to stop everything.
Greg: I think there was like a, there was like a one page outline of a guy who solves a crime in the past through a machine. And then there was a guy who solves the murder of his wife or girlfriend four days ago. And then the idea that really made them sit down and write the movie was Guy who falls in love with a woman who’s already dead, and then goes back and saves her so he can be with her.
Joe: Yeah, yeah. I think there are lots of people that could have done it. I don’t know that there’s anyone who does it better than Denzel and those two together, Tony Scott and Denzel Washington. It’s a magic it’s a magic moment.
Greg: So he really makes it his own.
Joe:
Greg: That’s what Salon.com was talking about so casually inherently likable Scott Tobias I think he writes for the A.V. club I think out of Chicago he says rarely have producer Bruckheimer and director Scott been so upfront about insulting people’s intelligence.
Joe: Oh shots fired. Yeah.
Greg: Joe Morgenstern from the wall Street Journal says pretty dazzling. As action adventures go, even when it’s wildly, almost defiantly implausible. The Great Empire magazine says nobody does vapid ballocks as enjoyably as Tony Scott.
Joe: Okay.
Greg: And while this isn’t as inventive as Man on Fire or as compelling as Crimson Tide, it’s still the right side of dumb.
Joe: Okay, I’ll take it. That could.
Greg: Be the name of this.
Joe: Show.
Greg: The absolutely right side of dumb. Los Angeles Times says if you want your films to add up logically, you’re welcome to take your calculator somewhere else. But if you do, you will be missing out on some first class genre fun.
Joe: I agree with that.
Greg: I love that review. We can finish up with Newsweek. David Anson says it’s preposterous but never dull. Yeah. Scott whips the action into a taut, tasty lather.
Joe: I agree with that. Yeah.
Greg: All right Joe, you know, if you’re watching this movie with a bunch of friends at a party, you know it’d make it better.
Joe: So I’m drinking games, maybe.
Greg: Some drinking games. Let’s get to drinking games.
Joe: All right, let’s go through our stock drinking games again. Doesn’t have to be alcohol. Could be water. Could be, a no duels. It could be coffee, soda. We don’t judge here. No. So silent helicopter. I mean, it’s a Tony Scott movie. There are helicopters. That’s like a given.
Greg: Like we’re usually thankful for a helicopter. Best case scenario, a low flying helicopter. What if it’s two low flying helicopters next to an airboat?
Joe: Yeah, you’re in heaven. So push in and enhance of this home. The whole snow white area as I push in, in enhance. So sure, sure. You’re drinking a lot. Two people share a slow motion look in the middle of chaos when the boat explodes. Probably some other times. Probably silent suffering and ringing in the ear. That scene is awesome.
Joe: Opening credits locks into place. The score rises up. So necessarily our classic yeah, Die Hard two. But they emphasize it. It flashes back constantly. So there’s that.
Greg: So take a drink every time there’s a flashback that what you’re saying? Okay.
Joe: Basically yeah. I did not notice CGI close calls. And this there there are there is CGI in this film. It just wasn’t glaring to me in terms of what they were trying to do.
Greg: I noticed it a little bit with the ferry blowing up.
Joe:
Greg: All of the people were added later in that. So it’s a little bit overly dramatic. Yeah.
Joe: Great bad shots. Absolutely. I did not notice inexplicably white streets. That doesn’t mean they weren’t in there. I just didn’t notice it. I feel like maybe during the chase scene because it’s at night and they always love a night scene with cars a lot. So you probably are drinking with that. Yeah. Yeah. We do not have a give us the room.
Joe: Interpol or a cell phone smash. So those are our stock drinking games, so I will toss it to you. Greg, what is your first drinking game? Off the cuff.
Greg: Every time the ferry boat driver pulls the foghorn.
Joe: Take a drink. It’s so good. I have any time. There are unnecessary swooshing sounds and then especially, like, finish your drink if it’s accompanied by slow mo, take a drink. Oh, how many.
Greg: Times that happened in this movie.
Joe: It’s at least 3 or 4. There’s like, you know, kind of walking past a door and like, there’s, like, give love that it’s everywhere.
Greg: More tasteful than John Murray, though.
Joe: Yeah. Tony Scott is a as a gentleman that’s got the tasteful slo mo.
Greg: Every time you see more than one helicopter in a shot. Okay, take a drink.
Joe: Awesome. I also have Tony Scott slo mo. So that is like, you know, the particular brand of slo mo where it isn’t. It’s like character development, slo mo. It’s the best way to describe. He doesn’t use it in his action scene. It doesn’t use it to set up his actions either. Is really in the calm moment. He loves those slow motion moments.
Joe: So I’m walking and they just makes them look. Especially Denzel Washington knows how to walk like the coolest person on the planet.
Greg: He also is an incredible slow turner. When he’s kind of like taking in the scene of the ferry scene after it’s exploded. When he arrives, he is slowly looking around and the camera is kind of like it’s shoulder height going the other direction. And I feel like they’re doing this at a, at a in kind of a slow mo.
Greg: It is the most legit slo mo turn that’s ever happened in film.
Joe: All right.
Greg: Anytime somebody says anfo anfo anfo I don’t know if that is take a drink.
Joe: Awesome. Every time you see a shot of a doll in this movie, take a drink. No. Yeah.
Greg: 100%. Do you think that that was young Annie from cliffhanger? This is actually a prequel to cliffhanger.
Joe: Yes. It’s kind of based.
Greg: On her name. Annie. In the beginning of cliffhanger or Sarah.
Joe: Annie or Sarah.
Greg: Oh, wow. That’s how long we’ve been doing the show. We can’t remember our first episode.
Joe: Yeah.
Greg: We can’t go back to our episode.
Joe: That’s how long we’ve been doing great, but we’ve made it. Yeah.
Greg: That’s a great one. Every time Denzel ends the phone call by hanging up and not saying goodbye.
Joe: Take a drink. Every time he’s on the phone.
Greg: He’s pulling a full Al Pacino where he just throws the phone down with no indication that he’s ending the phone call.
Joe: Love it. Yeah, absolutely. I did hear, like, a producer or editor or something talk about why they do that. And it’s basically because of time that they, you know, how you end the phone call is pretty boring. And that’s, you know, it’s like, oh, okay. Thank you. See you later. Goodbye. And it’s, you know, they’re like saving those seconds in TV shows and movies because that’s, you know, and it’s a little more dramatic, especially because it’s something.
Greg: If I ever make a movie, I am going to have a phone call, take about eight times longer than it should, than.
Joe: Have.
Greg: And it will be because of this moment on this podcast.
Joe: Awesome. All right. Every time I say, Mindy, take a drink.
Greg: Oh that’s great. Yeah. His partner every time they say Einstein-rosen Bridge, which has something to do with the wormhole and the time. The time travel. Yeah.
Joe: Any time you see. Can you save her or you can save her on the kitchen with magnets. Make it.
Greg: Dream solid. That’s really good. Any time I say wormhole, take a drink.
Joe: Oh, nice. I have every time there’s a time window. Take a.
Greg: Drink. Oh, that’s a good one. I have, any time you see a car crash, take a drink.
Joe: You kind of need to stock up when they. When he gets into the Hummer, that’s. It’s rough.
Greg: It doesn’t have to be a big drink.
Joe: Yeah, anytime there’s a real sciencey explanation, take a drink.
Greg: My last one is every time they say PETN, which is the domestic terrorists.
Joe:
Greg: Gunpowder bomb making right material.
Joe: Yeah. He does a lot of like two phases. So like Paula Patton will be like in her apartment and Denzel Washington will be looking at her and they’re kind of overlaid. And then they’re just some glamor shots of both of them kind of. And then Denzel Washington looking at Paula Payton on the screen. So any time that those are things are happening take a drink.
Joe: But that’s and that’s my last one.
Greg: That’s a good one. All right Joe let’s get to Joe’s trope. Lightning round aka signs. You might be watching a great bad movie.
Joe: So we have kind of a new one that we, we’ve talked about before, but, I think Denzel says it in this movie, but I can’t remember. But it’s he says, dazzle me. Oh. When he first learned about the Snow White thing. Yeah. And they’re showing him what it can do. So there’s like, Impress Me or something like that.
Joe: Like when, you know, a character comes in.
Greg: Hold on is dazzle me a trope.
Joe: It’s got to be.
Greg: I was talking to somebody a little while ago, and she was like, I’m not sure that I totally understand what a trope is. And I said, to be clear, I’m pretty sure we don’t either.
Joe: Yeah, we’re just making this up, quite frankly, if we’ve seen it in like two movies. Yeah. And it’s a trope that’s basically what we’ve just. Yeah, yeah. All right.
Greg: Go ahead.
Joe: Sorry. All right. Jumping into water and the sound disappears, finds a key or, you know, finds a truck. Yeah. When he takes the Hummer, like, he just, like, runs out, like you said. And just starts driving it like the major under the flap or something like that. He’s kind of an honorable man. We might need to have a special when we’re doing a Tony Scott.
Joe: Just like the color filters for Tony Scott, films are just something special.
Greg: Let’s be honest. It’s not Domino.
Joe: Not Domino, okay.
Greg: Or Man on Fire.
Joe: Yeah. Smooth jazz. So there’s a lot of that, like, kind of in, like a on a, usually on like a love scene, but like they use that to like tell the story of themselves. Love for Paul a patent. We kind of have a it’s not my blood moment. He doesn’t specifically say that, but it isn’t his blood when he’s talking to someone.
Joe: We have medical care from a loved one, or he finds clothes that fit perfectly. And we have a version of a call trace timer in there. So those are trope lightning round flowers.
Greg: Long list in this one.
Joe: Yeah.
Greg: That’s incredible. All right Joe is it time to address the elephant in the room and answer some important questions 100%.
Joe: Let’s get to it.
Greg: All right Joe did deja vu. You know I never asked you this. Have you seen this movie before?
Joe: No, this is my first time.
Greg: Okay. So in your mind, do you think this movie held up then?
Joe: I think it held up then, yes.
Greg: Oh you’re wrong. It was kind of like okay. Yeah. Forgettable. Whatever. Does it hold up now?
Joe: Yeah. It does. Oh, there are pieces of it that are dated for sure. And some little bit of a cringe bits in it. Yeah. But I actually think it holds up pretty well. How do you feel about it?
Greg: I do feel like it holds up pretty well. I don’t know why this is the first thing that came to mind, but there are some shots when they’re at the kind of the ferry dock where you’re looking up the hill and you can see the hair is up the hill. And I had a magical afternoon. And that here is one time when you’re on tour.
Greg: We had gotten to town, we had dropped off our stuff, but then we had a couple hours before soundcheck and I was walking around and I was like, you know what I’m going to do? I’m going to go to Harrah’s. There’s a Harrah’s right here. Why wouldn’t I go in? And I just instantly won almost $70. It was like $67.
Joe: Oh, awesome.
Greg: To the point where it was kind of like, I think I should just walk away. I just won a ton of money for me in a blackjack table. So I’m walking out and there’s a Starbucks inside the Harrah’s there, and I was like, well, I might as well get a delicious Americano with since I’m just walking around in warm New Orleans.
Greg: And so I stopped to get an Americano and it was $65. I don’t remember exactly how much it was, but it was the most expensive intra casino Americano I’ve ever had in my life. It was so expensive, but it like, yeah, they took a lot of my chips to get that, to get that cup of coffee. But yeah, but I was like, oh yeah, I remember that afternoon I just like, won a boatload of money that Harrah’s right there during touring with fun.
Greg: All right. I do think it holds up about as well now as it did then. The age difference did bother me. Although a 51 year old man can, you know, fall for a 30 year old woman. And that’s a totally, you know, acceptable thing. But for some reason, I just think of Denzel Washington as like a, avuncular, you know, kind of father figure.
Greg: And it just feels to me like Paula Patton is kind of like his niece or his daughter in this movie could be. So that was the only thing that doesn’t hold up very well for me now. That’s the only thing. That’s the only thing that doesn’t hold up for me now.
Greg: Perfect in every.
Joe: Way. I think that except for that. Yeah. The 21 year is fair.
Greg: All right. Let’s see how hard do they sell the good guy in this movie?
Joe: Joe, you played the clip, but not that hard. Really? Yeah, a little bit.
Greg: But follow up question. How hard do they sell the bad guy?
Joe: Not at all. Really. In my mind, yeah.
Greg: All right. Joe, this is I’m hesitant to even bring this up. Why is there romance in this movie?
Joe: I think it’s because they have all these glamor shots of Paula Payton, Mike being dead and then in her apartment. And yeah, the romance in this movie I struggled with. So that was that’s the piece that’s artist. Yep.
Greg: Agreed. All right Joe, are we bad people for loving this movie?
Joe: I mean probably, but I mean, on the scale, it’s not that bad of a movie, right?
Greg: What episode of our show is proof that is. Are we the worst people for loving? Oh, what’s the first movie that comes to my.
Joe: It’s probably like Die Hard two or, True Lies?
Greg: Yeah, probably True Lies.
Joe: But yeah.
Greg: You lost me. It. You lost just a little emotional journey. Just to recap what just happened. You lost it. I had to you had me back. You like.
Joe: This? Okay.
Greg: Does this movie deserve a sequel?
Joe: Deserve. No. What? I watch a sequel.
Greg: 100%. I mean, just so they could call it digital. You probably.
Greg: For that reason alone.
Joe: Yeah, for that reason alone. I mean.
Greg: Actually, I have one reason that I would be okay with the sequel. And if it was just a proper ending to this movie that we could watch.
Joe:
Greg: I would take that as a sequel. It’s like ten minutes. It’s just a conversation between the two of them. Call it deja two, I’m renting it.
Joe: Yeah.
Greg: All right. Does this movie deserve a prequel?
Joe: The only prequel I would allow would be something around the Oklahoma City bombing. Oh, where we learn about. Yeah, Denzel Washington’s character. Maybe he finds. But to Timothy McVeigh and or helps and the and the manhunt and otherwise it does not in my mind, that.
Greg: Is a way better answer than mine.
Joe: Okay.
Greg: So do you remember The Fugitive sequel.
Joe: With Wesley Snipes?
Greg: Was he? Yeah, he was the bad guy in it, right?
Joe: Yeah, yeah.
Greg: But it was Tommy Lee Jones character from The Fugitive.
Joe:
Greg: In US marshals.
Joe: Yeah.
Greg: And Richard Kimble, played by Harrison Ford was not in the sequel. Right. And then they added like Robert Downey Jr some of the other gang was there. Joey Pants was there. But it was it was a sequel just to kind of like bring some of the gang back together. I would accept a prequel for this movie in that kind of fashion where it’s Val Kilmer.
Greg: Okay, I’m in Val Kilmer character. We’re getting backstory, we’re getting in, you know, an honest part for Val Kilmer. He can Val Kilmer all over the place. Anybody else in the gang that wants to be there? Bruce Greenwood, I’m on board. That whole crew, the whole crew that’s there is amazing. I’m on board. Also, I think we should add Robert Downey Jr just to be exactly like US marshals.
Joe: Yeah, perfect. I mean.
Greg: So Val Kilmer, if he’s in, it’s happening. Everyone else is a bonus. If they’re available, they’re there. Yeah, we’re happy to have them. All right. Should Deja Vu have been nominated for Best Picture at the 2007 Academy Awards?
Joe: No, I can answer that easily, no. But also, what was nominated.
Greg: Only five movies were nominated that year, so I guess we could say like, well, that should have been the six.
Joe: Yeah.
Greg: Very quickly after this, they went to ten. Okay. So the movies that were nominated Babel with like Brad Pitt.
Joe: Oh yeah.
Greg: Yeah, it’s like a bunch of disparate stories. I think in your interview might have direct them.
Joe: Yeah.
Greg: Letters from Iwo Jima, if you’ve seen that movie. Clint Eastwood did.
Joe: Not. But yeah, I heard it was good.
Greg: This movie. I don’t think I saw it, but the greatest idea he made Flags of Our Fathers, World War Two from America’s point of view. And then he made letters from Iwo Jima, which was that same story from the Japanese point of view.
Joe: But.
Greg: A great I everybody should do this.
Joe: Yeah.
Greg: You know, telemovie from the other.
Joe: Side.
Greg: Making it so I haven’t seen it. Great idea, Little Miss Sunshine.
Joe: That movie is terrible.
Greg: Okay, so that one potential weak spot here in the five nominees.
Joe: Yeah, I would totally take deja vu over a little bit. Sunshine as a better movie. Every day of the week.
Greg: Every day of the week.
Joe: I hate it, Little Miss Sunshine.
Greg: I only had to say three movies. And we’ve already found that deja vu should have been nominated.
Joe: Yeah, I changed my answer. It should have been nominated.
Greg: That’s incredible. The Queen. Have you ever seen the Queen?
Joe: I have seen the Queen.
Greg: Was it good?
Joe: That movie is amazing. It was.
Greg: Really. See, I need to see it. I need to see it. Yeah. One thing I love about this question is I realize all of the great movies from the past that I need to revisit or see it for the first time.
Joe: There’s one note on the Queen. So is it Helen Mirren is the Queen?
Greg: Yep, one best actress.
Joe: She never wears a crown in this movie, but I realized she puts on her glasses is like her putting on her crown in the movie, and her performance is so spectacular. And then in that movie, was she and.
Greg: Anna. I’m trying to put this in a great bad movie language here. Was she Indiana?
Joe: Yeah, I don’t think she was, but that movie has Anna has it. So it’s got Killian Murphy and.
Greg: Luke Evans and Helen Mirren. Yeah, a movie we haven’t covered, but we might get to Anna someday if we can stomach Luc Besson again. That’s incredible. Okay, so I’m gonna watch the Queen. The movie that won that year was The Departed.
Joe: I just watched The Departed. Completely overrated.
Greg: Completely overrated. But wait till you see it the fourth time. You’ll realize I love watching this movie over and over and over again.
Joe: I’ll trust you on this because I’ll probably never watch that movie again. Oh, interesting. Okay, but we complete sidebar on The Departed for a second.
Greg: Yeah. Of course.
Joe: No character development.
Greg: Marky Mark was amazing.
Joe: Marky Mark is probably his best role. Yes, his best performance.
Greg: He claims he didn’t say anything in that movie that he hasn’t actually heard his mother say, okay. And he says a lot of really offensive things in that movie.
Joe: Jack Nicholson is amazing in it. The story is terrible. The female characters are terrible. Are like incredibly poorly drawn.
Greg: Vera Farmiga yeah.
Joe: If you want to watch a gangster movie that’s way better than this. Directed by, you know, Martin Scorsese, they watch casino or watch Goodfellas. But this is I just thought this movie was so bad. And I will fight people over this. This movie was bad. This is a bad movie. Deja vu is better than. And then.
Greg: The departed. Wow. Shots fired.
Joe: That is how little I think of The departed.
Greg: Martin Scorsese just catching fire.
Joe: Catching strays.
Greg: Catching strays. This feels like what I was like. Well, Jurassic Park is amazing, but when you compare it to the other best movies of all time that Steven Spielberg has made, it’s a little unfair.
Joe:
Greg: Of course, Goodfellas is better than The Departed. Of course, casino is better, but Alec Baldwin is pretty funny, right? Wasn’t he funny in that movie? This is before 30 Rock. This is when we didn’t know Alec Baldwin was as funny as he is.
Joe: There are great moments okay, in The Departed, but the story and the character development and just where it goes, I just, I it took me, like 3 or 4 nights to watch it and I just like, did not care.
Greg: But deja vu replaces Little Miss Sunshine. And now I’m hearing the winner of the Oscar.
Joe: Is no.
Greg: Longer The Departed. Is it deja vu starts off. We went from a no to yes and it wins.
Joe: Yeah.
Greg: You’re going to have a nightmare tonight where deja vu is nominated. And then at the end of your nightmare The Departed still wins. You’re going to wake up so angry.
Joe: Yeah. It’ll be like what? What was that a few years ago when they, like, call it the wrong name and it’s like a the winner is deja vu. And they’re like, oh, wait, actually, it’s The Departed.
Greg: They called La La Land. And it was moonlight.
Joe: Yeah.
Greg: By the way, the director of La La Land. What a gentleman. When they tell him actually you didn’t just win this and he has to tell the crowd it’s not us, it’s moonlight. Cheer for moonlight. What a good moment. Yeah I know that’s, that’s a moment where the true heart of the person is going to show on national television forever.
Greg: And he ended up being a pretty good dude. All right. That was a roller coaster.
Joe: Yeah. That was. Sorry, everyone.
Greg: That did not go where I thought it was going to go. I can’t believe Best Picture from 2007 is now deja vu.
Joe: Yeah. That’s incredible.
Greg: Congratulations to everybody. All right, Joe, how can deja vu be fixed? AKA who should be in the remake?
Joe: I want next an edge of tomorrow. And that is how you fix this movie.
Greg: Okay, let me guess.
Joe: What you mean.
Greg: He can only see two minutes in the past.
Joe:
Greg: He is an Elvis impersonator. Emily Blunt has a massive sword like thing.
Joe:
Greg: And incredible yoga skills.
Joe: Yeah.
Greg: And they are reliving when he flashes back and starts, restarts his day, restarts the timeline. He is in his boxers in a t shirt and he’s in the time machine.
Joe: Yeah. Okay. Over and over again. Yeah. What I really want them to do is just kind of pick a lane, because I feel like there was a little bit too wishy washy for me. What are they trying to do with this movie? You know, like, is it a romance? Is it a time travel movie? Is it an action movie?
Joe: Pick a lane. Yeah. Next. An edge of tomorrow. Pick the lanes for me.
Greg: Oh, my gosh, we got to get to next.
Joe: Yeah, ASAP was so bad.
Greg: Two minutes ago. We didn’t get to next two months ago.
Joe: How do you fix this movie?
Greg: Well, first of all, this movie should 100% be called Man on Fire to please the bears revenge.
Joe: And man.
Greg: Now hear me out. This means that John Creasy, aka Creasy Bear, the man with the baby, did not die at the end of Man on Fire.
Joe: I’m okay, I’m fine. I’m in.
Greg: As far as I can tell. When you’re looking at great bad movies, this is not a dealbreaker at all.
Joe: No. So we are.
Greg: Fine.
Joe: Yeah.
Greg: Maybe we do what they did, you know, at the beginning of the extraction two or is like, Papa, Papa, Papa. He fell in the water and someone found it.
Joe: Yeah, yeah.
Greg: So who should be in the remake? Obviously, we’re bringing in Christopher Walken, Christopher Walken in this. Gonna talk about their time in Panama. It’s going to be amazing. And, you know, Dakota Fanning is around. Her bear. Grizzly bear is there, and, we’re good.
Joe: Yeah. So. And she can be the one that dies, and he’s trying to save her.
Greg: That’s a good idea. I mean, not it’s not great that she died.
Joe: Okay? But he saved her. That was okay.
Greg: Let me just circle back real quick.
Joe: I’m not ready to put a pin in this yet.
Greg: I don’t like the idea of Dakota Fanning died. Like, I don’t like that.
Joe: Yeah, nobody likes that.
Greg: But no, it’s so horrible that he has to go back in a time machine and fix it. All right, so, Joe, you’re all in on man on fire to bears revenge.
Joe: Absolutely.
Greg: Okay. Yeah. Joe, what album is this?
Joe: This took me forever, and I kind of went a little dark with that, so forgive me. I needed to pick an album that wasn’t the best album of someone’s entire catalog. Sure. Yeah. But also, I wanted to tie it in, and. And the sad part is Tony Scott has commit suicide. Like 2011 or something like 2012. And I ended up picking audio Slaves out of exile, their second album, which I some people like, it’s kind of a middling album for me.
Joe: It’s not as good as their first for me. Yeah. But Chris Cornell, also lead singer of that, commit suicide. And so. Yeah. Sorry, I’m bringing everyone down. Yeah, it’s obviously it’s out of exile and the it’s the song is probably out of exile, which is probably the best song on that album, but I haven’t listened to it in a really long time, so.
Joe: Okay, okay. Sorry everyone, and sorry, Greg, that you have to follow that with like something that’s going to be probably be way more funny and on point than what mine my album.
Greg: It’s I picked a children’s album though.
Joe: Elmo things.
Greg: But it’s called Barney Lives Forever.
Joe: Sorry. I’m sorry. I’ve. Yeah.
Greg: All right. So I was basically on that same page with you where it’s it’s an almost successful album by people that I really like. I don’t know if we’ve talked about the band Oasis on this podcast. Oasis is a band that I have tried to quit 6 or 7 times in my life, and then at some point I just realized, you know what?
Greg: I think I’m a massive Oasis.
Joe: Fan,
Greg: Because I listen to their entire catalog every year. And so when they broke up, both of the Gallagher brothers went off and did their own things and no, Gallagher started this band called Noel Gallagher’s High Flying Birds. Their second record, which is called Chasing Yesterday. On paper. I mean, like the day it came out, I was listening to it.
Greg: I love it, but it’s not their best work. And each song on its own pretty successful. The album as a whole, a little bit deja vu ish in my mind. And so.
Joe: Okay.
Greg: I often forget that deja vu existed and then when I remember, I will revisit it. This is like the fourth or fifth time I’ve seen this movie, I think. And the same thing with this, with this album, every time I think of chasing yesterday, I go, oh yeah, chasing yesterday, I should listen to that. And then as I listening to it, it’s like, oh, right.
Greg: This is why I kind of forget that this, this is a rant. So chasing yesterday by no Gallagher, I don’t know what song I’m going to put on our playlist yet, but it’s going to be a good one.
Joe: Okay.
Greg: Great bad movies music on Spotify is where you can listen to just the greatest mix of albums that we’ve come up with.
Joe:
Greg: That are like the great bad movies that we’ve watched. All right. So it has all come down to this. It’s time for us to rate the movie Deja Vu. Is this a great bad movie? Good bad movie. Okay. Bad movie, bad bad movie or awful bad movie?
Joe: This is on the line between okay and good for me. And I’m going to push it up to good. Probably it doesn’t deserve it but there’s enough good stuff in it. There’s just enough.
Greg: Just enough. And I’m exactly there with you. There’s just enough good stuff in it because it’s Tony Scott.
Joe:
Greg: Denzel Washington and it’s Denzel Washington.
Joe: Yeah.
Greg: And Paula Patton I mean all kinds of supporting characters in this that are elevating it higher than it should be. But yeah good bad movie.
Joe: Yeah. It’s a good bad movie.
Greg: It’s what I say too. Yeah yeah. Got it.
Joe: Yeah yeah.
Greg: All right. Well Joe, we did it.
Joe: We did it. We had the conversation that needed to be had about these review. I honestly don’t know if anyone else should talk about this movie. This is like the the premiere. The best really the only source for deja vu commentary that you’re going to get in 2025. Yeah, I’m being honest. Yeah.
Greg: So what’s the conversation that needed to happen?
Joe: Yeah.
Greg: You know, as always, we should it would only be fair for us to say spoilers for the movie Deja Vu.
Joe: Yeah. Spoilers. Lots of spoilers. I mean, yeah.
Greg: And listen, if you’ve enjoyed this episode, would you rate and review us on whatever app you’re listening to us on? Would you tell a friend about the podcast, some friend that you know loves these kinds of movies? The way that Joe and I do hang out with your friends, put some parties together, play some drinking games. Doesn’t have to be booze.
Greg: Life is better when we’re watching great bad movies together.
Joe: I agree, and we really don’t. Just tell one friend, tell 100 friends, and then tell your 100 friends to tell 100 of their friends, and then great bad movies will explode onto the scene. That’s what we’re saying.
Greg: Absolutely. And, if you have any questions for us, you can contact us through our website. Great. Bad movies.com. You can find us on Instagram. Great Bad Movies show. You can find us on YouTube. Great Bad movies show. You can email us through our website. Reach out. Yeah. Tell us what movies you think we should be watching.
Joe: We’ll probably not watch them, but you can still try, you know, because we have an exhaustive list because.
Greg: We’ve already seen them ten times.
Joe: Yeah. So. And we’re professionals and gentlemen, as Greg likes to say.
Greg: All right. Well.
Joe: Oh. And oh, I was just going to say I’m filming a Tony Scott homage, and I have 30 helicopters on standby, so, it’s just for a 32nd scene, but that’s okay. It’s fine.
Greg: Okay, so you need to go.
Joe: Yeah, I need to go.
Greg: Okay, well, that totally works for me because I have been in the shower this entire episode, and I feel like somebody is watching me. So I’m going to go see what’s going on here. Maybe it’s just my cat out front. I don’t know.
Joe: It’s probably probably that I’m running late too. I apparently my time window is closing, whatever that is. So it’s weird. I don’t know. Yeah, it’s.
Greg: A very weird reason to need to leave.
Joe: Yeah. I have to say.
Greg: Hey, you remember in this movie when, Denzel Washington pointed a laser pointer through the Snow White machine, and he learned that that it wasn’t like a recording of four days ago. It was actually a they were viewing through a time machine.
Joe: Yeah. Yeah.
Greg: Of course I don’t know why I brought that up. Now.
Joe: Yeah. That’s weird. Oh that’s okay.
Greg: I may have forgotten to mention it earlier in the episode but I don’t know. Yeah, yeah I don’t know. I just saw a laser pointer show up at the, the light next to me out of nowhere. And so I think I’m gonna go. I feel like Denzel and in his boxers might show up at any second and need a defibrillator.
Greg: Yeah.
Joe: That track that tracks, I’ve got to go to. I’m an ATF agent, and I lost my badge. Or maybe I just don’t have one. And I have so much authority that no one has to see it. But that’s okay. I’ll find it somewhere.
Greg: Okay, well that works. I just looked up, and my fridge says you can save Joe guy. Tucker.
Joe: Sweet. That’s weird. Awesome. I mean, go.
Greg: Figure out what that’s all about. So I got to go. Okay?
Joe: Okay, good. I’m going to an autopsy. I’m running super late, so I don’t have time to put on my gloves. That’ll be fine. That’ll be fine.
Greg: Okay, well, that works for me, because I’m sure I’m positive you have noticed that there is PTEN caked all over this room that I’m in.
Joe: Oh, everywhere.
Greg: And so I think I might have some domestic terrorist living in my house. I need to go investigate.
Joe: Yeah, those kids these days. Anyway, also, I’m super late. I have a I have to put a big show on of putting on gloves at a victim’s house whose autopsy I was late for. I don’t know, I wonder if there’ll be a plot point about that later. You know, it’s.
Greg: I really appreciate the glove related reasons that you need to leave.
Joe: Yeah, I feel gloves are very important. It’s a new.
Greg: Spin on your priorities. Life.
Joe: Yeah.
Greg: All right, well, those reasons work for me, Joe. So I will see you soon.
Joe: All right. They assume.