#67 - Ghost (1990)

[00:00:01] Welcome to Properly Howard, a podcast that reviews classic films and other

[00:00:23] full fiction. Today we take a look at the Academy Award winning film Ghost. Starring

[00:00:29] Patrick Swayze as a guy who becomes a ghost, Ghost is about that. With me as

[00:00:34] always to discuss this movie is Dr. Anthony Ladon. Steve what is the oldest

[00:00:41] song that you will listen to and enjoy unironically? It's not a question that I

[00:00:53] would have ever thought I'd be asked. Gosh oldest. Because I know that you're a fan

[00:01:01] of 80 songs and you have a certain taste for classic rock at times so that was

[00:01:09] sort of firmly in the in the 70s. I almost feel like the 60s is is tough for you and

[00:01:18] I sincerely doubt that the 50s is better. Yeah I'm not I'm certainly not listening

[00:01:27] to something from the 50s. I mean it's like we were just figuring out what

[00:01:30] guitars did. I think of like my favorite Gregorian chant.

[00:01:39] My favorite Christmas hymn I think comes from like the 700s. So that's that's

[00:01:47] really old but I'm sure that they have they've changed the lyrics since then. That

[00:01:51] jingle bell rock? Oh man so all right this is a song. It's not the Righteous Brothers.

[00:02:02] It's not this? No. This does nothing for you? Doesn't get you in the mood at all?

[00:02:16] To sculpt? Does it get you in the mood to throw pottery?

[00:02:23] Was she like towards the end making a dildo? What was going on there?

[00:02:30] This is sort of like a thing in the 80s and 90s like the Righteous Brothers.

[00:02:36] Yeah they were pictured in Cheers for a bit. Yeah.

[00:02:39] And Top Gun right?

[00:02:43] Yeah. Top Gun it was a thing. I mean it was sort of like

[00:02:48] it's like almost like romantic songs peaked in the 50s. I guess this is 62. So let's say early 60s.

[00:02:58] And then things just go downhill. I mean I guess that there are songs about love but it's like you

[00:03:04] know heartbreak. There's love songs Anthony. I don't know if you were. There are love songs.

[00:03:09] I don't know if you were. There are love songs. I'm saying. I feel like they're still making them.

[00:03:15] That as a culture like we unironically appreciated love songs in the early 60s and then after that it

[00:03:24] was like breakup, heartbreak you know there's always a little ennui that comes with these love songs.

[00:03:34] You feel like there's not like this earnest sense of like a hallmark.

[00:03:39] Yeah yeah.

[00:03:40] You know there's a sentiment right which is just supposed to be this is an outpouring of

[00:03:45] adoration as opposed to some sort of complication that we might feel that we need to add.

[00:03:53] Yeah and I like the complexity. I like the complexity.

[00:03:56] You like your Batman grounded. You know you want your Batman to live in the world where you are.

[00:04:04] I do like I will unironically listen to the Beach Boys. So that's sort of I could do that.

[00:04:13] Are you familiar with the inkblots?

[00:04:15] I don't want to set the world on fire.

[00:04:22] By the way I'm absolutely fine with not talking about the movie Ghost if you want to keep talking

[00:04:27] about whatever this is.

[00:04:28] Are you familiar with the song at the very beginning of Shawshank Redemption?

[00:04:36] No.

[00:04:37] No?

[00:04:38] Well I mean I'm sure it would be. It's a movie that I don't necessarily think of the music I guess.

[00:04:44] So they're sort of like sort of 1930s, 1940s. So I think my music tastes are generally a little bit earlier than yours.

[00:04:55] Yeah I mean I know music has been around and it exists and I'm okay with that.

[00:05:00] Okay yeah I know. I'm just saying like I will listen to a band like the Beach Boys unironically and enjoy them.

[00:05:07] I always love you. But long as there are stars above you. You never need to doubt it. I'll make you so sure about it. God only knows what I'd be without you.

[00:05:48] When you, you know whenever I like mention the Beach Boys to you, you kind of throw a little fly in the ointment by mentioning that they were on Full House for a while.

[00:06:00] Yeah Kokomo is certainly something.

[00:06:04] Yeah yeah. I mean that's sort of your...

[00:06:06] Uncle Jesse got to play, got to jam with the Beach Boys when they were in Hawaii and why wouldn't they?

[00:06:12] Well and I do think that John Stamos, I think he toured with the Beach Boys. I mean he wasn't just like, wasn't just for the show. Like he was actually on stage with the band during concerts.

[00:06:30] Who helped who at that point do you think? Do you think the Beach Boys were elevated by Stamos or do you think Stamos was riding those Beach Boy coattails?

[00:06:39] There was a brief moment in time where Stamos had more heat than the Beach Boys.

[00:06:44] Yeah. You can imagine that. Imagine the Beach Boys like trying to have their renaissance and they're like, look, we need to attach ourselves to a star.

[00:06:52] They're looking all around and then finally got a hold of Stamos' people.

[00:06:59] So the Righteous Brothers does nothing for you.

[00:07:02] Now I think that this scene, you know, sort of the pottery scene, you know, leading right into the lovemaking scene.

[00:07:14] This is one of the most parodied scenes in movie history.

[00:07:19] Right.

[00:07:21] It's, well, it's...

[00:07:22] I'm trying to think of a scene that's, that's been, uh, run up more than this one.

[00:07:28] Yeah. And it's, uh, so you've seen, this is not your first watch of Ghost, right?

[00:07:33] It's probably my second watch. I watched it like way, way back in the day and, uh, probably watched it in the theater.

[00:07:41] Were you on a date?

[00:07:42] No, no. Can't, I can't imagine that I would have, this would have been a, a date movie for me.

[00:07:49] It's less logical for you to go see Ghost in the Theater on a date than by yourself.

[00:07:56] I mean, it might've been like a group of people. It could have been a group of people.

[00:08:00] I don't remember exactly my first Ghost experience. I remember seeing it and feeling very uncomfortable with the scene.

[00:08:08] Yeah.

[00:08:09] And even, this is my second watch, uh, I did fast forward the scene.

[00:08:14] I, I just, I felt like your mom might walk in.

[00:08:22] I, I, you know, I just feel very, I'm very prudish when it comes to these things, unless there's going to be some kind of plot development during the scene.

[00:08:31] Um, you know, like maybe like, you know, Damon Targaryen is going to reveal that he's got erectile dysfunction.

[00:08:38] I, I, I, it does nothing for me. Like, I get it. I get it.

[00:08:42] I feel like this much plot was revealed in that scene as any other scene.

[00:08:47] Oh, tell me more.

[00:08:49] Because I still, I don't know what this movie's doing. I don't know why.

[00:08:52] I don't know why it's doing what it's doing. I don't think it understands.

[00:08:58] I, I was, I quite enjoyed myself watching this movie, uh, laughing hard a lot.

[00:09:06] Oh, I giggled a bunch.

[00:09:10] This is one of the most unintentionally funny movies I've seen in a while.

[00:09:15] Yeah. Start to finish. I mean, it is, it is, it never, uh, it never gets it.

[00:09:19] Like it's so unaware of what it's doing and I kind of here for it, to be honest.

[00:09:24] I, I, I went in expecting to really dislike this movie and don't get me wrong.

[00:09:29] I don't like it, but it's, it's very entertaining.

[00:09:33] For sure it is. And you know, I'm wondering, like,

[00:09:37] I had no idea when I suggested this movie that Jerry Zucker was like,

[00:09:45] like he wasn't just the director. Like he was invested in this.

[00:09:48] Like this was his, he kind of viewed this movie as his breakout moment.

[00:09:54] Like I'm not gonna, I'm not going to be the slapstick guy anymore.

[00:09:56] I don't know if I've liked any Jerry Zucker movie.

[00:09:59] Like I'm not a, I'm not a fan of airplane.

[00:10:02] Really?

[00:10:03] No, just, it doesn't hold up.

[00:10:05] I don't, do you like airplane?

[00:10:07] I've never asked you this.

[00:10:08] I love airplane.

[00:10:09] Naked Gun's amazing.

[00:10:10] When's the last time you saw it?

[00:10:11] A few years ago.

[00:10:13] All right.

[00:10:13] I, yeah, I don't laugh during this movie.

[00:10:16] It just doesn't get me.

[00:10:18] The Naked Gun movies don't really do anything for me.

[00:10:21] Yeah.

[00:10:22] Naked Gun still makes me laugh.

[00:10:23] Okay.

[00:10:24] All right.

[00:10:26] What about, um, Naked Gun 2 1⁄2,

[00:10:29] The Smell of Fear?

[00:10:32] I think I've seen that and, uh, 33 and a third, like once each.

[00:10:37] Okay.

[00:10:38] Because that movie does do the, I think the first parody.

[00:10:42] Right.

[00:10:42] I think you're right.

[00:10:43] I like that Jerry Zucker is at least self-aware after the movie's done.

[00:10:47] Sure.

[00:10:48] Well, he also knew he made an iconic scene, right?

[00:10:50] So that's kind of what the parody, a parody only works to parody something which everybody recognizes.

[00:10:56] Right.

[00:10:56] You know, the scene does nothing for me at all.

[00:10:59] Um, it must have done something for a lot of people.

[00:11:03] You don't parody a scene unless it has an impact.

[00:11:08] Well, parodying yourself is kind of like, it's a pretty big flex.

[00:11:13] It is a flex.

[00:11:14] And I mean, I guess that's, that's what you do when you're doing Naked Gun 2 1⁄2, right?

[00:11:21] Right.

[00:11:22] Um, so I know that we, we usually kind of save stuff like this for the end.

[00:11:26] So I want, this is, this has been going through my head.

[00:11:28] The question that you, you typically ask, like immediately, it's the only question that came to mind when I'm watching the movie.

[00:11:34] And it just stuck with me is like, who is this for?

[00:11:37] Right.

[00:11:38] Yeah.

[00:11:38] And this is, this is a hundred percent for my mother.

[00:11:40] And I don't know if it was made for anybody else, but this is the kind of, this is the kind of cinematic tripe, um, that, that, that she'd be all in on because I'm cheated.

[00:11:49] She enjoyed her Daniel Steele romance novels.

[00:11:52] And that's what this is.

[00:11:53] This movie is, is a romance novel come to life.

[00:11:56] Right.

[00:11:56] I mean, I think that's.

[00:11:58] That's funny.

[00:11:58] And I wonder if it's a generational thing because well, number one, we, we, we called out the righteous brothers part of it.

[00:12:05] Right.

[00:12:05] But, um, I asked Sarah, she would watch this with me.

[00:12:09] She said, no.

[00:12:11] Yep.

[00:12:11] My wife was adamant that this is all on me.

[00:12:14] Then I asked my daughter who's 20 years old.

[00:12:17] I said, do you want to watch this with me?

[00:12:19] And she's like, is that the one with the pottery scene?

[00:12:22] I said, yep.

[00:12:23] Huh?

[00:12:23] And she said, nope.

[00:12:27] So the pottery scene has survived.

[00:12:31] I mean, it's, it really is sort of a relic, uh, that has survived through the generations.

[00:12:39] And which is really impressive to me.

[00:12:43] Uh, yeah, no, it's, it's, it's interesting because, uh, and the, and I guess like, like, why, why, why was this?

[00:12:50] Was it, is it because Swayze's at the height of his powers?

[00:12:53] And like, I mean, you think about it, right?

[00:12:54] Like, let's think about let's like mothers at that time.

[00:12:58] Like, this is kind of a sweet spot, right?

[00:13:00] You've got Swayze in a, in a romantic thing.

[00:13:02] People like the crazy for Swayze at this point, women of a certain age.

[00:13:07] Um, uh, you have, um, you know, so with plenty of him shirtless, you've got the righteous brothers.

[00:13:13] So you've got a song that probably means something to people of a certain age, or at least, or at least harkens back, um, to a time when romance songs of that nature were not complicated.

[00:13:23] They were very sweet and, and, and, and endearing.

[00:13:27] And then, so here's, here's Swayze, uh, like an object of maybe their affection is being romantic.

[00:13:32] He's kind of powerful, but he, it's also, uh, like, like, you know, cause he's, he's, he's taken, you know, a bit of a power position, but he's engaging in, um, like her art in some way.

[00:13:45] So he's like, not good at it, but like, it's, so it's playful.

[00:13:48] It's all these things, right?

[00:13:49] It would be arousing to a person with, you know, in a non, in almost a non-sexual way.

[00:13:56] Well, let's not forget that he's rich.

[00:13:58] I mean, clearly he's rich.

[00:14:01] Um, you know, sort of in the movie, it's sort of, she's kind of excited that she might break through as an artist.

[00:14:07] So the art is not paying for this New York loft.

[00:14:10] Right.

[00:14:11] Right.

[00:14:12] So he's, he's a banker.

[00:14:14] What the hell?

[00:14:15] Why do, why do they, why are they archeologists?

[00:14:18] What are they, what's going on in the beginning?

[00:14:22] Let's talk about that in a minute.

[00:14:24] So there's so many places.

[00:14:26] What he's done is he's been able to afford and set her up in this beautiful architectural space to fund her artistic passion.

[00:14:43] And he has the torso of a Greek statue.

[00:14:50] He's the perfect man.

[00:14:51] He's the perfect man.

[00:14:52] Yeah.

[00:14:53] Again, the head to body ratio needs a little bit of adjustment.

[00:14:57] That's the camera work in that.

[00:14:59] The camera work is really important here.

[00:15:02] You really want to focus on the torso.

[00:15:04] I think as I've said before in point break, he's kind of funko popping, right?

[00:15:08] I mean, I think I remembered that.

[00:15:10] I remember.

[00:15:12] No less.

[00:15:13] The head is no less of an issue.

[00:15:18] So I think that there's something sexy about that.

[00:15:20] I don't, I don't really understand that part of it.

[00:15:24] But he brings a certain amount of power to the relationship, which, you know, it goes beyond just the way he looks, the way that he moves, the way that he can swing outside of a window to kick an angel.

[00:15:38] To kick the way that he can kick an angel.

[00:15:43] All that is, so in other words, he just becomes the perfect man, right?

[00:15:48] And what's the one thing he can't do?

[00:15:50] He can't express his emotion very well with his mouth.

[00:15:55] Even as an actor.

[00:16:02] Holy moly, this movie is amazing.

[00:16:07] All right, let's talk about Demi Moore.

[00:16:09] I, you know, this movie comes to us because of Demi Moore's important role in A Few Good Month.

[00:16:17] Do you think that, do you think she brings anything at all to this part?

[00:16:24] No.

[00:16:25] She can cry.

[00:16:29] Yeah, she did that thing with a little bit of spittle between the lips when she was really upset.

[00:16:33] That was pretty good.

[00:16:37] Um, she's, I don't know.

[00:16:40] Well, okay.

[00:16:43] What is anybody doing that's helping this movie?

[00:16:47] I mean, I guess Whoopi Goldberg, right?

[00:16:49] Would be the one.

[00:16:50] I don't know.

[00:16:51] I've got a different, I've got a different take on this.

[00:16:54] I do quite enjoy Whoopi Goldberg in this movie.

[00:16:57] I really, really love Vincent Chiavelli.

[00:17:01] Do you know who Vincent Chiavelli is?

[00:17:03] Is he a ghost?

[00:17:04] He's a, yes, he's a ghost.

[00:17:07] He's a subway ghost.

[00:17:08] I love the subway ghost.

[00:17:10] I want to talk a lot about the subway ghost.

[00:17:13] Um, to me, this, that is the most memorable part of this movie and the most fun part of this movie.

[00:17:19] Um, Demi Moore brings nothing to this part.

[00:17:24] Yeah.

[00:17:24] I think Heather's question was like, why, like, why was, I think in general, like, why was Demi Moore a thing?

[00:17:30] Like, when did that happen?

[00:17:32] And I think it might be this.

[00:17:34] Is this?

[00:17:34] Yeah.

[00:17:34] I think she was kind of an unknown before this.

[00:17:37] Right.

[00:17:37] I mean, she had done some, like, Rat Packy type stuff.

[00:17:40] Right.

[00:17:40] And she was, so she was in movies for sure.

[00:17:43] So this feels like, like a get for her as an actress.

[00:17:48] Right.

[00:17:48] Because I mean, this is major exposure.

[00:17:50] Yeah.

[00:17:51] This movie was sort of like, oh, her.

[00:17:52] I think I remember her.

[00:17:53] I kind of like her, but you don't, she's not really a household name.

[00:17:57] She's just, she's not really someone you would go and see a movie because of this.

[00:18:01] Of course, Patrick Swayze is coming off roadhouse.

[00:18:06] Um, which is, this is an interesting life choice.

[00:18:12] Like roadhouse is particularly great.

[00:18:16] I mean, what is Patrick Swayze?

[00:18:20] The king of the unintentionally like entertaining film.

[00:18:25] I, I mean, it could be that Nick Cage was, but then he kind of realized that that's what

[00:18:30] he was and he leaned into it.

[00:18:32] Right.

[00:18:33] Cause I'm trying to think of Patrick Swayze films where it's like, oh yeah.

[00:18:37] Yeah.

[00:18:37] Patrick Swayze is real good.

[00:18:42] I mean, dirty dancing.

[00:18:43] I, I love dirty dancing and some of it is some of it.

[00:18:48] I mean, I think it's super entertaining, but again,

[00:18:50] it kind of not to the degree that I think that goes to this.

[00:18:53] Cause I actually genuinely enjoy dirty dancing because I do feel that there is a bit more

[00:18:58] self-awareness at times.

[00:19:00] Um, it's, it feels more fun.

[00:19:02] Like this movie is, is, it's like, is this movie a romance, a romantic movie?

[00:19:09] Seems like it seems like it wants to be.

[00:19:12] Is it a thriller?

[00:19:13] Oh, I guess it's a thriller too.

[00:19:15] Oh, is it funny?

[00:19:17] It, it, it thinks it's trying to be it.

[00:19:21] And it doesn't do any of those things.

[00:19:23] Right.

[00:19:24] You know what I mean?

[00:19:24] It's just doing them all.

[00:19:25] It's certainly funny.

[00:19:26] It's not funny where it wants to be funny,

[00:19:28] but it's.

[00:19:28] Oh yeah.

[00:19:29] No, it's funny.

[00:19:33] Okay.

[00:19:34] We're dog sitting a little poodle.

[00:19:36] Mm-hmm.

[00:19:37] It's vocal right now.

[00:19:39] Okay.

[00:19:40] All right.

[00:19:40] I'm sure that that's bringing a lot to this,

[00:19:42] to the listener experience of this podcast.

[00:19:48] Um, all right.

[00:19:49] So I heard an interview with me more and she, she basically said, you know, she said, I'm

[00:19:55] kind of playing an artist, but it kind of doesn't matter.

[00:19:58] It really doesn't matter who this person is.

[00:19:59] All this is, all that really matters is that this woman is in love with her husband or all

[00:20:05] that really matters is that she's in love with her man.

[00:20:08] And I was like, yeah, that's the problem.

[00:20:11] Right.

[00:20:13] Right.

[00:20:13] Like you, right.

[00:20:14] Like you just perfectly put words to the problem.

[00:20:17] Well, and it's even expressed, I think in the movie, right?

[00:20:20] There's a point where, um, where she's talking about like New York times, uh, review and what

[00:20:28] she's nervous about and, uh, uh, and you know, about having her art out there.

[00:20:32] And he says explicitly, he says, what, what does it matter?

[00:20:35] What they think?

[00:20:35] It only matters what I think.

[00:20:38] And I think, and that's a moment in the movie where I'm like, I don't think the

[00:20:41] movie knows that it revealed itself the way that it did.

[00:20:45] I think it thinks this is romantic.

[00:20:48] Yeah.

[00:20:48] No, because he's, he's expressing his devotion to her in a way that doesn't say directly.

[00:20:55] I love you.

[00:20:56] It's such a superficial thing, but it really does reveal the problem.

[00:21:01] The problem at the heart of this movie, like, why should we be rooting for these two?

[00:21:06] Like, like clearly they've got chemistry.

[00:21:09] That's great.

[00:21:10] Is, is he good for her?

[00:21:12] Is she good for him?

[00:21:13] I don't know.

[00:21:14] I don't know.

[00:21:15] I'll tell you what, he's real bad for her, uh, because he almost gets her killed twice.

[00:21:22] He saves her life after he's dead.

[00:21:26] As a ghost, he sabotages her life twice and almost gets her killed twice.

[00:21:32] Oh, really?

[00:21:33] Okay.

[00:21:33] Which one?

[00:21:34] Which?

[00:21:34] Well, everything's fine with Oda Mae getting the money, right?

[00:21:40] He's, he's thwarted his, uh, you know, his, his, what he thought was his friend and, and

[00:21:46] turns out to be his killer's plan to the point where now this guy's life is in danger.

[00:21:50] Right.

[00:21:51] But instead of just letting that play out, he gets super cocky and he starts typing and

[00:21:57] hunting and revealing his name.

[00:21:59] So now he's like, well, wait a minute.

[00:22:01] He really is a ghost.

[00:22:02] The last time I had a conversation about somebody knowing all this, that was, uh, you know,

[00:22:07] Demi Moore.

[00:22:07] So I'm going to go back.

[00:22:08] So he immediately puts her in danger for that.

[00:22:10] Right.

[00:22:11] Then secondly, once everything is like falling apart and like, now they're all coming together,

[00:22:16] he has to work with Oda Mae Brown to get banging on the door and you're in danger, you're in

[00:22:21] danger, you're in danger.

[00:22:22] And then what happens after that?

[00:22:23] He gets in and he just dances with her forever while they're on the way.

[00:22:29] He stalls so that the killer can show up and then they have to flee.

[00:22:34] And also in the process, in order to dance, he's weakened his ghost powers.

[00:22:38] So he can't, so he gets to flail around and punch him, which by the way, you want to

[00:22:42] talk about comedy, watching him ghost kick through people is hilarious.

[00:22:48] He punches and kicks in a way no one's ever punched or kicked before.

[00:22:55] So that's twice.

[00:22:57] So the thing is, is he's this hero in this movie, but he's also the villain.

[00:23:01] He's the villain for sure.

[00:23:02] I think subconsciously he wants her to die so that he can continue to be in control of

[00:23:08] her even in the afterlife.

[00:23:10] So yeah.

[00:23:11] Is it romantic to haunt someone after you're dead?

[00:23:16] Like to me, that's, that's, that's terrifying.

[00:23:20] That's terrifying.

[00:23:21] Totally.

[00:23:22] I, you can never allowed to move on.

[00:23:25] All right.

[00:23:26] Now let me ask you this question.

[00:23:28] If you have the opportunity to haunt someone, do you take it?

[00:23:34] What are my other options?

[00:23:36] I mean, you can go to heaven or hell.

[00:23:38] I guess.

[00:23:38] Oh, I go to heaven or hell or haunt.

[00:23:40] Within the mythology of this movie, you could go to heaven or hell or you could like hang

[00:23:45] around and haunt a subway or something.

[00:23:46] I think it might be a little bit fun to haunt for a while.

[00:23:50] Like if I knew, like I've got the option to do, to go upstairs or downstairs later,

[00:23:57] I might choose to hang around for a little bit and just have a little fun.

[00:24:01] Well, and the thing is you don't have to just stay on the subway and haunt.

[00:24:04] We found that out.

[00:24:04] You can, you can see the world.

[00:24:07] You can see the world.

[00:24:09] I mean, yeah.

[00:24:09] And you can see other ghosts.

[00:24:11] You don't really have monetary needs anymore, right?

[00:24:17] Your shirt's always the same and it's always clean.

[00:24:20] You, you can see other ghosts and hang out with other ghosts.

[00:24:23] So you can socialize and you can move stuff around.

[00:24:26] I mean, it's like being alive, you know, it's taken away all the pressure of breadwinning.

[00:24:34] If this movie's mythology is true, I would have just imagined like all the ghosts are in

[00:24:39] Paris.

[00:24:40] That's what they're doing.

[00:24:41] They're just hanging out.

[00:24:43] See the world.

[00:24:44] They're at Victoria Falls.

[00:24:46] They're at, you know, they're at the Grand Canyon.

[00:24:50] There's all the only sense that you don't have is taste, right?

[00:24:55] I guess.

[00:24:57] Cause you can, cause we find out relatively early in the, in the movie.

[00:25:01] Oh, you can just move things and punch people and you can do everything.

[00:25:04] Just not be seen.

[00:25:06] All right.

[00:25:06] I'm going to play you this, uh, this scene.

[00:25:10] What are you doing?

[00:25:11] The hell you doing?

[00:25:14] You're trying to move with your fingers.

[00:25:16] You can't push it with your finger.

[00:25:18] You're dead.

[00:25:27] It's all in your mind.

[00:25:30] The problem with you is you still think you're real.

[00:25:33] You think you're wearing those clothes?

[00:25:35] You think you're crouched on that floor?

[00:25:37] Bullshit.

[00:25:38] You ain't got a body no more, son.

[00:25:40] It's all up here now.

[00:25:42] You want to move something?

[00:25:43] You got to move it with your mind.

[00:25:45] You got to focus.

[00:25:46] You hear what I'm saying?

[00:25:48] How?

[00:25:48] How do you focus?

[00:25:49] I don't know how you focus.

[00:25:52] Just focus.

[00:25:58] How did you do that?

[00:26:01] So, I love this ghost.

[00:26:03] I love Subway Ghost.

[00:26:05] I think he's probably the best actor in the whole film.

[00:26:09] And I think about that scene a lot for some reason.

[00:26:14] Like, I only saw this once a long time ago.

[00:26:19] That scene had, I guess, the effect on me that the Righteous Brothers love scene had for everyone else.

[00:26:26] Okay.

[00:26:27] I like the mythology they're creating.

[00:26:30] I like that it's not easy, that you've got to learn how to do it.

[00:26:34] And I was watching this again.

[00:26:35] I was thinking, I would like to see a whole movie just about this.

[00:26:39] And then I thought, well, maybe that's what The Matrix is.

[00:26:43] Interesting.

[00:26:45] Like, that scene I just played, it feels like that invented The Matrix.

[00:26:49] So, you take away all the other junk, all the stuff that didn't work, and you create a mythology around someone who's got to figure out how to use their astral projection of themselves in the real world.

[00:27:07] And they have to go through some kind of training to make that happen.

[00:27:11] Kind of The Matrix.

[00:27:12] Yeah, it is an overachieving moment in the movie, right?

[00:27:16] And it's like a convenient plot mover, right?

[00:27:19] Like, well, okay, he's a ghost.

[00:27:21] How do we get him to communicate?

[00:27:23] Well, I actually thought the interesting part was he found a medium that he can communicate to.

[00:27:31] But she's an unreliable source, so therefore that's the challenge.

[00:27:36] But then it's like, oh, but also now he can just punch and move and throw things and type and all this stuff.

[00:27:41] And it's like, well, then, okay, then just do that all the time.

[00:27:45] Type on her computer.

[00:27:47] Push your girlfriend.

[00:27:49] Do those things.

[00:27:50] You can write boo on a foggy, pick up a pencil and say, hi, I'm Sam.

[00:27:55] I'm alive.

[00:27:55] You're in danger.

[00:27:56] Do those things.

[00:27:58] Do them all.

[00:27:59] And just be done with it.

[00:28:01] You don't have to do all the other stuff.

[00:28:03] But you can.

[00:28:04] I mean, he's punching Willie Lopez.

[00:28:06] He's throwing them around.

[00:28:08] And he's sitting there later.

[00:28:09] And then in like a scene later going, I just wish I could touch you one last time.

[00:28:13] It's like, do it.

[00:28:14] Do it.

[00:28:16] Right.

[00:28:17] You can move a penny arduously.

[00:28:20] You can caress her cheek.

[00:28:23] Do it.

[00:28:24] All right.

[00:28:25] Do that thing.

[00:28:27] So this movie is trying to do two things at the same time.

[00:28:29] Number one, he's trying to, you know, avenge his own death, basically.

[00:28:35] Sometimes not.

[00:28:37] Yeah.

[00:28:37] No, no, for sure.

[00:28:39] The other thing that is trying to do is that he's trying to right the wrong of never telling

[00:28:46] her that he loves her.

[00:28:47] And she repays the favor.

[00:28:49] The last thing she says to him is not.

[00:28:50] I love you.

[00:28:51] Really good.

[00:28:51] But really strong.

[00:28:54] Talking about flex.

[00:28:59] My goodness.

[00:29:00] What a way to go into the afterlife.

[00:29:02] He's like, I did it.

[00:29:03] I said, I finally said I loved it.

[00:29:04] And she's like, yeah, you're not getting it from me.

[00:29:07] All right.

[00:29:09] So Whoopi Goldberg.

[00:29:11] I quite enjoyed her in this movie.

[00:29:13] I know that you've never seen this.

[00:29:16] And maybe, I don't know, maybe you formed your opinion of Whoopi Goldberg based on, I

[00:29:21] don't know, sister act or something.

[00:29:23] Stand up.

[00:29:24] But did this help you at all?

[00:29:26] Did you enjoy Whoopi Goldberg at all in this movie?

[00:29:29] She was fine.

[00:29:30] I really thought Whoopi.

[00:29:32] I think it's hard to like look at this movie now, right?

[00:29:37] Because you're going through a lens of sort of, like you said, there's lots of parodies.

[00:29:42] I've seen like bits of it to where I'm like, yeah, I kind of get it.

[00:29:45] And then, you know, to know that Whoopi Goldberg is like an Academy Award winner because of

[00:29:49] this role, I feel like I'm holding maybe her performance to a different standard watching.

[00:29:56] Oh, I didn't know that.

[00:29:57] I don't think I knew that.

[00:29:58] Did she win?

[00:29:59] Yeah.

[00:29:59] Supporting?

[00:30:00] Yeah.

[00:30:01] She won over Lorraine Bracco in Goodfellas.

[00:30:05] So I'm not sure about that one, but whatever.

[00:30:09] And this was kind of like, and it's a typical, to me, it's a typical Academy Award move.

[00:30:15] A lot of times the Best Supporting Actor or Best Supporting Actress winner will kind of

[00:30:19] go to a movie that maybe is a little bit more like fan favorite popular because it sort of

[00:30:26] helps the Academy Awards also get eyes and maybe not feel like they're too elitist for

[00:30:30] the average movie.

[00:30:31] Yeah.

[00:30:31] You need at least one movie on the roster that people have seen.

[00:30:34] Right.

[00:30:35] And then you can win for that, right?

[00:30:37] I mean, you can be Kevin Kline and win Best Supporting Actor for A Fish Called Wanda.

[00:30:41] You can be Marissa Tomei and win for My Cousin Benny.

[00:30:44] Not to say these performances aren't worth it, but you oftentimes don't get a comedic award

[00:30:50] unless it's in the Best Supporting and it does feel like a bit of fan service, which, you

[00:30:55] know, whatever, it's fine.

[00:30:56] It's the awards.

[00:30:56] It's all kind of, you know, make believe.

[00:30:58] Anyway, but so I am looking to, I'm looking for kind of a standout performance and I think

[00:31:04] she does have a standout performance in the sense that everybody around her is kind of

[00:31:09] dog shit.

[00:31:10] I think that's right.

[00:31:11] For the same reason that, you know, Subway Ghost is a standout scene.

[00:31:14] Is it really that good or is he just good in comparison to everyone else?

[00:31:19] Yeah.

[00:31:19] And so it becomes remarkably better, right?

[00:31:22] I mean, we've just seen scenes where Patrick Swayze is struggling to convey shock and awe.

[00:31:29] I mean, it is, I mean, his reaction to his own, like seeing his own death is laugh out

[00:31:36] loud funny.

[00:31:37] Oh, I rewinded it.

[00:31:38] Oh, yeah, me too.

[00:31:39] I watched this.

[00:31:40] It's hard to believe that that made it.

[00:31:43] It was a mistake.

[00:31:43] It was a mistake to do that because he continues to do that for the next 20, 20 minutes.

[00:31:50] I didn't need to rewind it that the film does it for me.

[00:31:54] For sure.

[00:31:55] Yeah.

[00:31:55] You think you caught something, right?

[00:31:57] You think you caught a brief, like bad moment.

[00:31:59] You're like, oh, no, no, wait, but wait, there's several more.

[00:32:02] No, he's going to do this a lot.

[00:32:04] There's going to be a lot of eye popping, head shaking.

[00:32:07] Yeah.

[00:32:08] It's like, I mean, it's like he got an unexpected prostate exam in that scene.

[00:32:12] It's amazing his reactions.

[00:32:15] Good ghosts.

[00:32:16] Do we have a lot of good ghost movies, like where the protagonist is a ghost?

[00:32:23] Can you think of any others?

[00:32:25] Sixth Sense.

[00:32:26] The Sixth Sense, I guess you're right.

[00:32:28] Yeah, for sure.

[00:32:29] He's a good ghost.

[00:32:32] Heaven Can Wait?

[00:32:34] Not really.

[00:32:35] Mm-mm.

[00:32:36] Not really.

[00:32:37] It doesn't really work.

[00:32:39] Um, is it more rare to get a good ghost or a good banker in a movie?

[00:32:45] Yeah, it's hard to try to pull off the double, right?

[00:32:48] And then he's trying to do both work.

[00:32:51] I mean, yeah, he's, that's, I think that's one of the issues that I have too is like, he's

[00:32:57] too sweet to be like an investment banker.

[00:33:01] Like, it doesn't mesh.

[00:33:04] Like, so I don't, I don't find him believable in like any particular role.

[00:33:07] And again, I'm like, why are these investment bankers shirtless?

[00:33:11] And in the beginning, just tearing down buildings that just covered in like drywall, probably

[00:33:16] asbestos.

[00:33:17] Like, dude, why are you shirtless?

[00:33:19] You should not only be wearing like a full, like bunny suits.

[00:33:23] You're going into like old, old architecture and just hitting it with sledgehammers.

[00:33:28] You guys, the bankers.

[00:33:30] Okay.

[00:33:30] Okay.

[00:33:30] Okay.

[00:33:31] Let's talk about that scene.

[00:33:32] That, that it's an important first scene of this movie.

[00:33:35] It's important because the music suggests that things are going to be spooky.

[00:33:42] Mm-hmm.

[00:33:43] And so you're sort of going through, I don't know, like a, an abandoned warehouse or something.

[00:33:51] And you just see sheets hanging on iron rods, which is almost like, um, it's like Halloween

[00:33:59] spooky.

[00:33:59] Right.

[00:34:00] Like not the film, like little kid spooky.

[00:34:03] Yeah.

[00:34:03] Yeah.

[00:34:04] They're trying to do a lot with the imagery.

[00:34:05] Like they're, they're, they're all white, right?

[00:34:07] They're all, they're, they're sort of, uh, like when they're not clothed very well, right?

[00:34:12] Or, or much.

[00:34:13] So they do sort of give this sort of like, maybe, maybe they're ghost-like.

[00:34:17] Right.

[00:34:17] So it's like, it, it feels like it's trying to do something clever with the imagery.

[00:34:21] And I'm just the whole time just going like, what's going on?

[00:34:23] And why is this happening?

[00:34:24] Okay.

[00:34:25] Right.

[00:34:25] So then they're, uh, they're trying to demo a wall suggesting to me that this is a new

[00:34:32] space.

[00:34:33] They don't even know what they have in this space.

[00:34:35] They bought the, the, maybe the entire floor of this building.

[00:34:41] And, um, they're about to take down a wall and sort of realize the potential of this particular

[00:34:49] loft, but they're all kind of friends.

[00:34:52] They're chummy.

[00:34:53] They're, they're doing this with their shirts off.

[00:34:55] You get the sense that like, these guys are really friends.

[00:34:59] Like he's not just, not just friends with Sam.

[00:35:01] He's friends with the couple.

[00:35:04] Did it, did it make you feel like when, uh, Heather and I would like stand near you while

[00:35:08] you were tearing my barn down?

[00:35:14] Uh, no, it didn't, didn't make me feel that.

[00:35:18] Maybe if you had taken off your shirt.

[00:35:19] Yeah.

[00:35:20] We were, if you and I were both shirtless, would that have changed anything?

[00:35:24] Certainly would have changed.

[00:35:25] It would have said it would have changed things for Heather.

[00:35:27] She would have not been there.

[00:35:28] That's for sure.

[00:35:28] That's right.

[00:35:30] That's right.

[00:35:31] All right.

[00:35:32] So she makes me wear like, you know, a sun shirt when I shower.

[00:35:37] The other thing that, the other thing that that scene does is that it establishes that

[00:35:42] this loft is half finished.

[00:35:45] So it kind of sets the stage for the final fight scene.

[00:35:51] Right.

[00:35:51] Just super important.

[00:35:53] Uh, this movie.

[00:35:55] Right, right, right, right.

[00:35:57] And, uh, none of it works.

[00:36:04] None of it works at all.

[00:36:06] Well, cause I'm sitting there watching this and I'm like, all right.

[00:36:08] Oh, this is a part of the movie.

[00:36:09] I didn't realize.

[00:36:10] I'm like, I'm like, Oh, it's, is it like, it's almost trying to give you like, again,

[00:36:13] it gives you, it's trying to, it, it, in order to try to dupe you or, or get you in a ghosty

[00:36:19] mood, you know, it, it dupes you into thinking that, okay, so they're like, are they renovators

[00:36:25] or then next scene is like, they're, they're in suits and I'm like, Oh, okay.

[00:36:31] So they're like, maybe they're flipping the thing.

[00:36:33] And then I have a really important business meeting and that's why they're in their suits

[00:36:35] and that's why they're nervous.

[00:36:36] Like, Oh no, no, they're bankers.

[00:36:38] Oh, they're like, they're like really important bankers.

[00:36:41] They're really important, sexy bankers who are not going to hire someone to do what they

[00:36:47] just did.

[00:36:48] I don't buy that.

[00:36:50] Not for a second.

[00:36:50] The same way I don't buy that.

[00:36:52] He's going to walk with his girlfriend through a terrible part of New York.

[00:36:55] Well, cabs are being hailed around them and not take one.

[00:36:58] You can afford the cab.

[00:37:01] This was sort of the time in movie history when you could just do this at any, like any

[00:37:07] dark street, it would be believable to most of America that anyone, there's a mugger around

[00:37:12] every corner.

[00:37:14] You don't have to explain it.

[00:37:16] Of course, in this movie, the mugger was hired by his best friend.

[00:37:22] Do you feel like, um, the penny trick is, the penny trick is impressive?

[00:37:31] No, we just watched him type punch, kick throw.

[00:37:38] And now it's like, hold on.

[00:37:39] I have a great idea.

[00:37:41] I'm going to do the slowest trick.

[00:37:43] This is not the, if that was the first time he'd ever done something.

[00:37:46] Sure.

[00:37:47] But we just saw him do a bunch of stuff.

[00:37:49] I feel like he goes through the door and I, all I'm sitting, I'm shouting at the screen.

[00:37:55] Push your girlfriend.

[00:37:57] Just push her right now.

[00:37:58] They've got all the resources of Hollywood, of movie making magic at their disposal.

[00:38:06] And the best that they could come up with was a penny traveling up a door and floating.

[00:38:13] Again, pick up the penny.

[00:38:15] You can.

[00:38:17] I know you can.

[00:38:19] I know you can.

[00:38:21] Pick up a pencil, pick up a pencil and write, I love you on a piece of paper.

[00:38:26] Go to heaven.

[00:38:31] Go to heaven.

[00:38:35] I'm a little confused by the theology of this movie.

[00:38:38] I understand these bad guys get taken away by the rough drafts of demons or whatever.

[00:38:49] You want to talk about, I know that there's better effects and graphics ability in this

[00:38:55] time frame.

[00:38:56] This feels like the guy who was in charge of drawing the demons did not know when the assignment

[00:39:04] was due.

[00:39:05] Yeah.

[00:39:06] And the person's like, hey, we're getting ready to take this down to the studio.

[00:39:09] We're getting ready to do it.

[00:39:10] Oh, you finished that scene, right?

[00:39:12] Oh, no.

[00:39:14] No.

[00:39:15] Yeah.

[00:39:15] No.

[00:39:16] It's totally ready.

[00:39:17] They're totally not scribbles.

[00:39:20] This is similar to, I think, some of the maybe the special effects we saw in Batman 89.

[00:39:27] But for me, when I see Batman 89, I think, well, this is sort of his conscious wink to remind

[00:39:37] us that this is comic book-y.

[00:39:38] Right.

[00:39:40] And we know that because, you know, when the Joker's falling down off the building, he does

[00:39:46] turn a little bit comic book-y.

[00:39:48] Right.

[00:39:48] As he falls into the distance.

[00:39:50] So clearly a conscious effort by Burton.

[00:39:54] The shadow demons in this movie, I think that they think that they're really doing something

[00:39:59] impressive.

[00:40:01] No.

[00:40:02] This is exactly the thing, right?

[00:40:03] Like, this movie is riddled with, no, that was good.

[00:40:07] And no, it wasn't.

[00:40:10] And heaven is just like a beam of light with like dust bunnies or something?

[00:40:18] It's your zoom blur screen.

[00:40:23] It's what I use because my room is a mess behind me.

[00:40:26] Like, that's heaven look like a bomber, man.

[00:40:30] Like, it's a bunch of like just shapes that eventually just envelop you.

[00:40:36] I was listening to an interview with Zucker and forget who the writer of this is.

[00:40:42] It doesn't matter.

[00:40:44] It doesn't matter.

[00:40:45] And what they said that they were really going for was a world of just black and white.

[00:40:50] Like, just good and evil.

[00:40:53] There's no sort of gray in between.

[00:40:57] Which kind of works.

[00:40:59] I mean, it tracks in this movie.

[00:41:02] But, you know, I guess the Whoopi Goldberg character is sort of a con artist who ends up

[00:41:07] having an ability and she does the right thing in the end.

[00:41:10] But it's so over the top.

[00:41:12] Like, she gives away $4 million without much of a protest.

[00:41:16] I mean, and I thought, okay.

[00:41:18] Well, she doesn't want to hear Henry VIII I am again.

[00:41:23] Yeah.

[00:41:24] You did what you were going for.

[00:41:25] This is a world of, you know, simplistic morality.

[00:41:29] But why is that interesting?

[00:41:32] Why is that an interesting story?

[00:41:34] I don't...

[00:41:35] Well, yeah, that's...

[00:41:36] It really ruins it for me.

[00:41:37] Yeah, there's...

[00:41:39] There's just so many odd choices, right?

[00:41:41] Like, okay, so you...

[00:41:42] I mean, again, I guess I never thought of Ghost being like an attempt at having like a

[00:41:51] thriller component to it, right?

[00:41:56] A murder to solve.

[00:41:58] And not just that, but like, it's kind of elaborate in its own way.

[00:42:04] Not like in like, oh, this is a really interesting plot.

[00:42:07] But like, it's more...

[00:42:09] It feels like it's more elaborate than it needs to be to do the movie it's trying to make.

[00:42:13] And so I wonder, especially because like that scene where the friend dies, it's kind of like

[00:42:22] oddly gruesome with the...

[00:42:25] You know, like the glass comes down and it's not enough that we know that it's going to impale

[00:42:30] him.

[00:42:30] Like, we see it impale him.

[00:42:32] And it just seems like, why is this movie doing that scene now?

[00:42:38] And that...

[00:42:39] It stabs him in the heart, by the way.

[00:42:41] Right.

[00:42:41] And that's why I keep thinking things like...

[00:42:43] Like, I kept on thinking, who is this for?

[00:42:46] And I just feel like the audience member who is really excited about Righteous Brothers

[00:42:53] and the pottery scene, I don't see an overlap with that scene.

[00:43:00] You know what I mean?

[00:43:00] Like, it feels like just tonally very, very off.

[00:43:06] And it just, it jarred me.

[00:43:08] So I'm wondering like if on some level, it's like from a studio perspective, there was this

[00:43:12] maybe push.

[00:43:13] It's like, well, look, if we make this too romantic, you know, it'll make money.

[00:43:17] But like, we need the guys to come to this too.

[00:43:19] You know what?

[00:43:20] Do you know what dude's like?

[00:43:22] Just blood.

[00:43:24] Sometimes blood.

[00:43:25] You know what?

[00:43:26] But I think of this, you know, because this movie did very well, I think it almost feels

[00:43:31] like there were studio notes to this.

[00:43:33] Like, okay, well, we're going to need something for the women.

[00:43:36] We're going to need something for the men.

[00:43:39] It's going to have to be, you know, scary enough to be PG-13.

[00:43:46] Not too scary.

[00:43:48] Like, you know, let's keep it in the Spielberg range, shall we?

[00:43:52] Yeah.

[00:43:53] It almost feels like there's a conscious effort.

[00:43:56] It's like an episode of amazing stories.

[00:43:59] Yeah, right.

[00:44:01] Right.

[00:44:03] All right.

[00:44:05] Is there a tweak you would make to this movie to improve it?

[00:44:10] Well, I mean, maybe a, like, actual attempt at making the shadow demon look like something.

[00:44:20] A little bit more special effects?

[00:44:23] Huh.

[00:44:24] Huh.

[00:44:24] All right.

[00:44:24] Maybe, maybe eliminate the movie altogether.

[00:44:34] It's just, it needs to know what it is.

[00:44:39] Like, be romantic or be a thriller or be ghosty.

[00:44:43] I just didn't like that he could move things.

[00:44:46] I guess I think that really bothered me.

[00:44:48] What?

[00:44:49] I love that part of it.

[00:44:51] Well, I know you like that scene.

[00:44:52] It's like he's got a little superpower, but he doesn't quite get how to do it at first.

[00:44:58] And he's got to learn how to do it.

[00:45:00] And until he learns how to do it, he's going to be completely ineffectual.

[00:45:06] But see, that's, I guess my problem with that is, is that he can do everything.

[00:45:13] And he never has to eat or poop.

[00:45:15] It's like, why?

[00:45:16] This is heaven, bro.

[00:45:19] You can do, you can go everywhere.

[00:45:21] You can talk to other ghosts.

[00:45:23] You can be like, once you, you enter that world and now you can move and punch and type and write.

[00:45:30] And, and it's like, well then what's the problem?

[00:45:34] And the problem is that he keeps on, like they just, the movie, the movie takes away a lot of the problem, but still pretends there's a problem.

[00:45:43] Like, he can communicate to her without Oda Mae now.

[00:45:47] Like, he doesn't need her anymore because he can move things and write and type.

[00:45:53] Like, you know what I mean?

[00:45:54] It's like, so that, for me, I'm like, well, you don't need to do all this other work.

[00:45:59] You can save your, your girlfriend immediately.

[00:46:06] Yeah, that part didn't really work.

[00:46:07] I do like, um, I do like most of the scenes between Swayze and Oda Mae.

[00:46:14] Why are the ghosts showing up at her place now?

[00:46:16] Like, like how did they find out?

[00:46:19] I think what we're supposed to...

[00:46:23] It's not like Patrick Swayze's networking.

[00:46:27] I think that what we're supposed to understand is that, uh, uh, because Patrick Swayze stumbled upon her, she was able to get the second sight.

[00:46:38] Well, yeah.

[00:46:39] Sort of like a latent ability now that she's got it.

[00:46:42] But the ghosts are going to her.

[00:46:44] Why?

[00:46:45] Yeah, the word's out.

[00:46:46] The word's out now that she's...

[00:46:47] How?

[00:46:48] What's going on?

[00:46:52] Not important.

[00:46:53] Not important.

[00:46:53] I see.

[00:46:54] I feel like it might be.

[00:46:56] My tweak.

[00:46:57] I'd love...

[00:46:58] I just want more Subway Ghost.

[00:47:00] I love that Subway Ghost scene.

[00:47:04] Is there a trope, a device, or a cliche in this movie that you enjoyed?

[00:47:08] Uh, well, and I did like the Subway Ghost stuff, right?

[00:47:10] And I don't know if it's a, if it's a cliche, but I do like, um, I like a scene where, uh, where somebody's like new to something.

[00:47:18] And they're having...

[00:47:19] Yeah.

[00:47:19] There's an ability that they have, and they just have to find out how to unlock it.

[00:47:23] It's like playing a kazoo, right?

[00:47:24] Like, you think you just blow, but it's not.

[00:47:26] There's a trick.

[00:47:27] Yeah.

[00:47:28] Well, and it's even better if the mentor is sort of like a crotchety old guy who doesn't really want to do it.

[00:47:37] But he's kind of cajoled into it, and he wants...

[00:47:40] Maybe he's...

[00:47:41] He hasn't had an emotional connection for a long time, so he gets something out of the deal.

[00:47:47] Uh, but at the end of it, it's not like they're, like, best buddies or whatever.

[00:47:54] He's nuts.

[00:47:55] He's nuts.

[00:47:56] Yeah.

[00:47:57] He's a paranoid ghost who hangs out on Subways, and he's going to continue to be that.

[00:48:04] And I, I'm in.

[00:48:05] I like that.

[00:48:06] I want more of that.

[00:48:07] Uh, I like the trope of the animal being able to see the ghost.

[00:48:13] Hmm.

[00:48:15] I don't know why that cat had to jump and scratch the face of Willy Lopez.

[00:48:24] But I do like, I do like cat.

[00:48:25] I do like a scary cat in a film like this.

[00:48:28] It's interesting, too.

[00:48:29] So we're talking about, like, you know, probably, like, the biggest, you know, again, takeaway, the pottery scene.

[00:48:36] We go back to that, you know, just because it's such an important part of it.

[00:48:39] Uh, or it's an iconic part.

[00:48:41] I shouldn't say it's important.

[00:48:43] Um, I had a really hard time with that scene.

[00:48:47] That scene kind of grossed me out.

[00:48:49] Yeah, it's not good.

[00:48:50] Well, there's so much clay, and they're so filthy.

[00:48:53] And then all of a sudden, like, her hands are clean.

[00:48:55] I'm like, where'd the clay go?

[00:48:58] Where is the clay?

[00:49:00] Because I don't get the sense that they, they, they, like, wiped up or anything.

[00:49:05] So, like, that clay is somewhere on him.

[00:49:08] So, I don't know if you remember the scene from Naked Gun 2 1⁄2.

[00:49:13] Oh, yeah.

[00:49:14] Yeah, I do.

[00:49:14] It's pretty, it's pretty great.

[00:49:15] I mean, number one, he, I mean, he basically has Fabio's body.

[00:49:21] Right.

[00:49:22] That's what's funny.

[00:49:23] And basically, she reaches into his shorts, pulls out a wad of clay, and makes, and makes an ashtray with it.

[00:49:33] Yes.

[00:49:34] That's right.

[00:49:35] While they're making out.

[00:49:37] I, I, I quite enjoyed it.

[00:49:41] Is this movie better, worse, or on par with a Ron Howard film?

[00:49:48] This, I, I thought about this one a lot, too, because there's, there, it seems like there's a lot of properly Howard moments to me.

[00:49:55] Mm-hmm.

[00:49:56] Despite, like, some of the problems, it just feels like, I could see this, like, if you told me this was Ron Howard, I might be a little bit disappointed.

[00:50:06] But at the same time, like, nah, this feels about right.

[00:50:10] So, I, but I do think that it, some of these other problems might have not been there.

[00:50:15] I think maybe you would have got a little more Subway Ghost Miyagi out of them, you know?

[00:50:21] Mm-hmm.

[00:50:21] Maybe a little more relationship to follow up with that.

[00:50:24] Um, so I, I think I have to go Howard minus one.

[00:50:28] Okay.

[00:50:29] Yeah, I was gonna say Howard minus two.

[00:50:31] I, I felt like this tonally, this feels Howard.

[00:50:37] Mm-hmm.

[00:50:37] Right?

[00:50:37] Yeah.

[00:50:38] Yeah.

[00:50:38] But there's no way Howard wouldn't have improved this movie.

[00:50:42] Right, right.

[00:50:42] And, uh, I, you know, what does Howard do pretty well is he'll take a story and he'll just bring a certain kind of cinematic emotionality to it.

[00:50:55] You, you care about these characters by the time he's done.

[00:50:59] Uh, I don't know if I cared.

[00:51:02] I don't know if I cared about anyone else besides Subway Ghost.

[00:51:05] No, no, no, I wasn't.

[00:51:07] I mean, they didn't do, like, the, a lot of it seemed assumed.

[00:51:13] Like, you should just, you should just be rooting for Patrick Swayze and Demi Moore because they're beautiful people.

[00:51:22] That's right.

[00:51:22] That's right.

[00:51:23] I, yeah, you'd, if they were not beautiful people, this movie doesn't work at all.

[00:51:28] Yeah, because they're not really interested in either one of their careers.

[00:51:31] They just, their careers exist to sort of fund and provide, uh, you know, fund a pottery studio and then to, uh, sexualize the pottery.

[00:51:43] They're super sexy.

[00:51:45] They're super sexy.

[00:51:49] Uh, I mean, there's no way that pottery isn't going to sell just because of the amount of sex that happened during the making of the pottery.

[00:51:58] How dumb is the, is the attempted seduction scene by, by the friend where he just spills coffee on himself and just, I'll just take my shirt off and let it dry.

[00:52:08] And just power around with your shirt off.

[00:52:11] It's a big problem.

[00:52:13] It's a big problem because you, you want, you want to forgive her because she's grieving.

[00:52:18] Right.

[00:52:19] Mm-hmm.

[00:52:22] But that scene goes on way too long.

[00:52:25] And so you start to think like, is she not bright?

[00:52:28] I know.

[00:52:29] I'm like, yeah.

[00:52:29] Does she want this or what's happening here?

[00:52:32] Yeah.

[00:52:32] That scene, that scene.

[00:52:33] Grieving doesn't make you dumb.

[00:52:35] Yeah.

[00:52:35] The, the scene does get you to the point where like, well, maybe she's too dumb to live.

[00:52:44] I mean, look, he's got a great torso too.

[00:52:47] Right.

[00:52:48] And she's been, she's been without a male torso for at least a week.

[00:52:52] Head to torso ratio way more favorable.

[00:52:58] That actor, Tony Goldwyn, I think is his name.

[00:53:04] Not nominated for an award for this movie, by the way.

[00:53:06] No, was not.

[00:53:08] Ended up becoming the president in the show Scandal.

[00:53:14] So I like to think that this film and that television series is in the same cinematic universe.

[00:53:24] Like eventually this guy will become the president and have an affair.

[00:53:29] And he's doing it all as a ghost because he's.

[00:53:33] Sure.

[00:53:34] Sure.

[00:53:34] Of course.

[00:53:36] All right.

[00:53:38] Does this movie have a half the battle wondergron moment, Steve?

[00:53:41] Take the cab.

[00:53:44] Just take a cab.

[00:53:45] Nothing, nothing good is going to come from donating $4 million to the Catholic church.

[00:53:50] Right.

[00:53:51] That, that does feel a little problematic, I guess.

[00:53:54] The Catholic church has a lot of money.

[00:53:56] It doesn't need these nuns.

[00:53:59] I'm sure that these nuns are nice people.

[00:54:02] They don't get to keep the money.

[00:54:03] Right.

[00:54:04] Yeah.

[00:54:05] That was the thing that got me.

[00:54:06] Like they were just so moved.

[00:54:07] And I'm like, it's not like you guys are going to get fancier habits now.

[00:54:12] And I guess maybe is that, was that like a, supposed to be like a nod to Sister Act or

[00:54:15] was that just.

[00:54:16] I was thinking, I was wondering, it's like, I wonder if this is sort of the, does this create

[00:54:21] Sister Act?

[00:54:24] Uh, or probably not, probably just Sister Act 2.

[00:54:28] Yes.

[00:54:31] I was kind of curious though, what, what the next song on the jukebox is going to be?

[00:54:35] Cause like, I mean, they, you know, they had that really great moment and they're leading

[00:54:39] and they actually, most of that was foreplay and then the song ends and it's like, I can

[00:54:43] just imagine they're actually having sex and it's like, you know, tutti frutti.

[00:54:46] But yeah.

[00:54:50] Little Richards queued up.

[00:54:52] Exactly.

[00:54:53] In the throes of passion.

[00:54:57] It's a long song.

[00:54:59] I can't imagine that they lasted much longer than that.

[00:55:03] Especially with that clay infection that they were building.

[00:55:10] Just a lot of showering.

[00:55:12] It's just, oh my gosh, it's everywhere.

[00:55:16] Let's never do that again.

[00:55:23] Afterwards, they're just angry at each other.

[00:55:25] Just, just disgusted.

[00:55:28] All right.

[00:55:30] Do you have anything else to say about 1990s ghost?

[00:55:36] It's again, I'll watch it again.

[00:55:38] Um, cause it's pretty funny.

[00:55:41] I wonder if it would be a good big flick energy.

[00:55:45] I think we've talked about it and I had never seen it.

[00:55:48] So I didn't really know how I didn't think it would qualify just cause I thought it was

[00:55:52] just too romantic.

[00:55:53] I didn't realize what it was.

[00:55:55] And now I'm like, oh yeah, this is happening.

[00:55:57] This is good.

[00:55:58] All right.

[00:55:58] So for listeners who don't know about big flick energy, uh, explain what it is.

[00:56:04] It's essentially like a mystery science theater, uh, project that me and a couple other comedians

[00:56:08] do.

[00:56:09] We'll do different venues, but yeah, like, uh, we'll do, um, we'll play a movie and we'll

[00:56:14] have three of us will be mic'd up and we'll just, uh, talk over it.

[00:56:17] And it's kind of fun cause the audience can kind of participate and be a part of it.

[00:56:20] It's perfectly okay to be like, cause it's really, we're heckling a movie.

[00:56:23] So it's okay to sort of, you know, engage.

[00:56:26] Um, so yeah, you make fun of the movie and then you play off each other.

[00:56:30] Do you think that this would work as a Halloween theme?

[00:56:34] We were actually, we're going to do it for Halloween.

[00:56:36] It was on the table.

[00:56:37] Um, but, uh, ghost is sort of the least spooky ghost movie that you can think of.

[00:56:42] Right.

[00:56:44] Yeah.

[00:56:44] Cause Halloween we've done, um, we've done child's play.

[00:56:48] We've done the happening and we've done a monster squad.

[00:56:52] Let me just ask this question.

[00:56:54] Right.

[00:56:54] So this was my film I chose for us.

[00:56:59] Uh, you had never seen it before.

[00:57:02] Uh, it's not a good film.

[00:57:06] Uh, you, you giggled a lot during the watching of this film.

[00:57:10] No.

[00:57:11] Are you glad that you've seen this film now?

[00:57:13] Oh yeah.

[00:57:14] Yeah.

[00:57:14] I'm glad you, I'm glad you chose it.

[00:57:16] Um, cause it is, it is a, uh, just if you were, if you're a movie that has like a, like

[00:57:23] an iconic scene.

[00:57:24] Right.

[00:57:24] And it is, it was, uh, enough to mean like people know about this movie because your daughter

[00:57:28] knows about this movie because of that scene.

[00:57:31] Um, you know, so it's, I think it's, it is something important to, to have, you know,

[00:57:37] in my arsenal.

[00:57:38] Um, for a while it was a culturally relevant movie and it has one of the most well-known

[00:57:46] scenes.

[00:57:46] For sure.

[00:57:47] Movie history.

[00:57:48] Yeah.

[00:57:49] Which is just crazy.

[00:57:53] Right.

[00:57:53] Again, Academy Award for Whoopi Goldberg.

[00:57:56] Yeah.

[00:57:57] Academy Award for Whoopi Goldberg kind of launches Demi Moore's career.

[00:58:00] Um, it has this major scene.

[00:58:03] Um, it's, uh, it's got a lot of, it's got a lot of ingredients that, that, you know, make

[00:58:09] a nice 90, like it almost a 90s time capsule is almost.

[00:58:13] You get to see Patrick Swayze's nipples.

[00:58:16] Mm-hmm.

[00:58:17] Such as they are.

[00:58:18] Such as they are.

[00:58:21] Yeah.