88 Minutes w/ Pete Holmes (Classic)

Summary

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How Did This Get Made? – “88 Minutes” w/ Pete Holmes (HDTGM Matinee)

Date: February 24, 2026
Episode Theme:
The crew of "How Did This Get Made?"—Paul Scheer, June Diane Raphael, Jason Mantzoukas—joined by special guest Pete Holmes, take on the 2007 Al Pacino thriller 88 Minutes, dissecting its dizzying plot, questionable logic, and the parade of odd creative choices. True to their mission, they celebrate the very best of the cinematic worst with their signature mix of incredulity, wit, and tangents.

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Main Episode Themes & Purpose

• Film Discussed: 88 Minutes (2007, starring Al Pacino)
• Purpose: To revel in and deconstruct the absurdity and unintentional comedy of one of Hollywood’s most baffling thrillers, together with comedian Pete Holmes.
• Tone: Playful, irreverent, sharply observational, and loaded with running bits.

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Key Discussion Points & Insights

The Absurd Premise and Production Choices

• 88 Minutes boils down to “Al Pacino has 88 minutes to live and seems profoundly unconcerned about it.”

  • Paul: “He just seems unfazed by that. To the point where he’s like, ‘ah, get my files out. Just find out who wants to kill me.'” [19:42]

• Questionable Real-Time Gimmick

  • June: “90% of the movie takes place on the phone.” [05:20]
  • Jason: “The movie is all false leads. Like, needless false leads.” [04:27]
  • The “real-time” conceit occasionally noticed, but frequently contradicted by characters traversing cities in impossibly short timespans.

Al Pacino’s Bizarre Characterization

• Pacino as a ‘Forensic Playboy’ For No Reason:

  • June: “Everyone wants to fuck Al Pacino.” [08:46]
  • Jason: “[Women] are towering over him … There are police dogs that are taller than him in this movie.” [08:55]
  • Paul: “Al Pacino in this movie isn’t tan. He’s mahogany.” [09:02]
  • Jason: “His wig is out of control.” [09:09]

• Job Title Confusion:

  • Jason: “He acts—it’s like CSI … They are forensic scientists.” [09:54]
  • June/Paul clarify Pacino is a top forensic investigator, not actually a cop, despite constant cop behavior [46:06–46:12 timestamp cluster].

Rampant Red Herrings and Plot Loops

• Everyone is a Suspect, Nobody Makes Sense:

  • Paul: “It’s everybody within his peripheral vision—it’s all the people that are right there.” [19:59]
  • June: “Everyone in this movie should say their line and then twirl their mustache—maybe, maybe, maybe.” [25:12]
  • Jason on character names: “What about Sarah Jacobs? Bethany Monroe? … Why does everybody have full names?” [27:10]

• Unexplained and Forgotten Subplots:

  • June: “It will bother you the whole film. … 90% of the movie takes place on the phone.” [05:20]
  • The group notes endless nonsensical time jumps, characters introduced with ostentatious detail only to serve as decoys.

Special Scenes & Running Gags

• The Cookie and Milk Scene:

  • Paul: “My favorite scene is Al Pacino serving people cookies and milk in a boardroom.” [11:30]
  • Jason: “You think it's gonna pay off? No payoff.” [11:50]

• The Relentless Telephone:

  • Jason: “A solid 90% of this movie is Al Pacino answering and talking to it on a cell phone.” [26:19]
  • June: “This movie should just [be called] ‘Phone Call: The Movie’.” [26:26]

• Wild Acting Choices (and Dialogue):

  • Pete’s Pacino Impression: “Did you ever let an unauthorized person into my secure files area?” [40:38]
  • Jason: “That sounds like the most dirty—‘my most secret secure area.’” [41:19]

• Logic Leaps, Bizarre Motives & Last-Second Twists

  • The “real killer” is revealed to be Leelee Sobieski’s character, who, in true thriller twist fashion, accomplishes impossible feats with psycho strength [22:10], leading June to briefly suspect (and hilariously attempt to justify) that the character might be blind [22:51].

• Comedic Highpoints

  • The group’s incredulity at Pacino’s sexual charisma:
    • “He’s a forensic scientist. Everybody wants to fuck him.” [08:46]
  • Pacino’s general inertia:
    • “He just seems unfazed by that…he’s not even worried when told he’ll die in 88 minutes.” [19:42]
  • Misused “real-time” device:
    • “Why does he drive a taxi cab?” [05:53]

Memorable Quotes & Exchanges (with Timestamps)

• On Pacino's Sexual Appeal

  • June: “Everyone wants to fuck Al Pacino.” [08:46]
  • Jason: “Including Guy Lafarge.” [20:29]

• On Names and Character Overload

  • Jason: “This movie is all useless female names.” [04:44]
  • June: “There’s a girl who literally walks by and goes, ‘Hi, Dr. Graham.’ And he goes, ‘Hi, Lauren.’ That’s the sum total of her acting performance.” [27:19]

• On Plot and Editing Bizarre Choices

  • Paul: “Al Pacino’s never phased. He’s never really phased by anything.” [13:42]
  • Jason: “He acts—it’s like CSI … They are forensic scientists.” [09:54]

• On Acting and Dialogue

  • June (as Shelley): “Not ever? To anyone, Ever?” [41:12]
  • Pete (as Pacino): “Did you ever let an unauthorized person into my secure files area?” [40:38]

• On the Logic of the Movie

  • June: “This movie was so clearly written by one person ... every character is the same. They all just kind of ... talk the same.” [35:03]

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Notable Timestamps by Topic

• The “Princess Di Sets the Year” Scene: [03:54]
• First time Pacino receives the “88 minutes to live” call: [14:12]
• Cookie and Milk in Boardroom: [11:30]
• The Real Killer Reveal/Confrontation: [22:00–22:44]
• Jet City Improv Flyer Sighted: [46:33–47:23]

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Other Memorable Moments

• Running Gags:

  • Jason: “If you see troll hair walking by your desk, give him this.” [26:01]
  • Group repeatedly riffs on the inexhaustible supply of suspiciously-named side characters.

• Boston-Style Alternate Endings and Imaginary Scenes:

  • June and Jason imagine alternative twists (e.g., Leelee being blind, the phone exploding).

• Jet City Improv Spotting:

  • Paul: “They're having, like, a scene. …and behind him, like, perfectly framed, is a flyer for an improv company… Jet City Improv.” [46:33]

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Episode Wrap-Up & Recommendations

• Would They Recommend Watching?

  • Mixed reactions:
    • June: “There’s a good chance I’m gonna watch it again with friends … a pure delight.” [45:55]
    • Jason: “I don’t know. I was really annoyed by it.” [45:52]
    • Paul: “If you do watch this movie … it actually opens up this whole world of the second life of Al Pacino…” [46:24]

• Summary of Film’s Place in the HDTGM Canon:

  • The crew sees 88 Minutes as a prime specimen of the “unintentionally hilarious late-career Al Pacino thriller”—potentially presaging a new HDTGM tradition (the way “Nic Cage movies” have become running favorites).

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Conclusion: Classic, Comedic “Best of the Worst” Takedown

This episode stands as a masterclass in comedic analysis, using 88 Minutes’ absurd narrative and creative misfires as a launchpad for tangents, bits, and honest-to-God reverence for the art of cinematic failure. For die-hard HDTGM fans, it delivers all the acerbic wit, off-the-wall premises, and ensemble riffing they’ve come to expect—with the special kick of Pete Holmes’ Pacino impression and the group’s ceaseless bemusement at a thriller gone horribly haywire.

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End of Summary

Transcript

[Paul Scheer]

ABC Wednesday in comedian Nate Brigetzi's new game show.

[Jason Mantzoukas]

To win, you don't need to know the right answer, just what most Americans think is right.

[June Diane Raphael]

It's not about being the smartest. You just have to be the most average.

[Paul Scheer]

We asked 100 average Americans, do they keep an empty gas can in their car?

[June Diane Raphael]

No.

[Jason Mantzoukas]

Have they ever broken a bone? No.

[June Diane Raphael]

I said a lot of no.

[Paul Scheer]

That's all right.

[Jason Mantzoukas]

My wife says a lot of no as well.

[June Diane Raphael]

The greatest Average American premieres Wednesday, 9.8Central

[Paul Scheer]

on ABC and stream next day on Hulu.

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[June Diane Raphael]

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[Paul Scheer]

has 88 minutes to live, which is 86 minutes too long. We saw 88 minutes, so you know what that means.

[June Diane Raphael]

Now it's time for how to discover.

[Paul Scheer]

We're gonna have a good time celebrating

[June Diane Raphael]

failure, not just be a hater.

Cause you know, you wonder how did this remain?

[Jason Mantzoukas]

Let's wallow in the mediocrity of subpar art.

[June Diane Raphael]

Perhaps we'll find the answer to the question, how did this get made?

[Paul Scheer]

Hello, people of Earth, and welcome to how did this get Made? I am joined, as always, by the fantastic Jason Mantzoukas and the wonderful June Diane Rayfield. How are you both?

[June Diane Raphael]

Good.

[Jason Mantzoukas]

Pretty good.

[Paul Scheer]

We are joined today by a very special guest. You know him from his podcast on the Nerdist Network called you'd Made it Weird. Please welcome Pete Holmes.

[Pete Holmes]

Hi.

[Paul Scheer]

Hey.

[June Diane Raphael]

Hey, everybody.

[Paul Scheer]

And you also have other things, too. He has a great comedy album. What's the comedy album called?

[June Diane Raphael]

Oh, it's called Impregnated with Wonder. But I love how the punk Rock element of how podcasts promote other podcasts. It's so cute.

[Paul Scheer]

DIY and beauty.

[Jason Mantzoukas]

Our podcast could be your life.

[June Diane Raphael]

Your podcast could be my life.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Don't worry what that means.

[Jason Mantzoukas]

Don't overthink it, Pete.

[Pete Holmes]

I don't know.

[June Diane Raphael]

That didn't make.

[Paul Scheer]

That sentence actually makes more sense than anything in the movie.

[June Diane Raphael]

I was telling Zoox I could talk about this movie. I can't believe the show's only 45 minutes. I feel like we have to pack in so much.

We should do it in 88 minutes.

[Paul Scheer]

Before you guys.

[Jason Mantzoukas]

Before you guys got here, Pete was, like, chomping at the bits.

[June Diane Raphael]

I can't wait to talk about. I just watched it this morning. It's actually the perfect way to watch it in daylight. So, you know, you're wasting a beautiful day watching what might be the best

[Paul Scheer]

worst movie I've ever seen in my.

[June Diane Raphael]

Did you just wake up and turn it on or were there other things?

Pretty much.

It was like a real fresh.

I was eating eggs, watching it. And, like, when it started, you guys start. I just want to know, please start. Part of me, I was like, maybe they're wrong. Maybe this is gonna be the best.

[Paul Scheer]

You know, I wanna point out one thing. We've watched a lot of bad movies on this show, and I'm beginning to see the trend with production company logos before the movie starts. And this one, when it started, it was family room entertainment.

[Jason Mantzoukas]

I saw that, too.

[Paul Scheer]

And, like, written in, like, Comic Sans.

[Jason Mantzoukas]

Almost terrible.

[Paul Scheer]

I was like, all right, we're in for a treat.

[June Diane Raphael]

I love that you went there. Cause I'll go one step back and say that the COVID of this movie is a one for one ripoff of the Bourne Identity.

[Paul Scheer]

Yes.

[June Diane Raphael]

It's the same cover.

It's the same cover. Pause the show.

[Advertisement Voice]

Now.

[Paul Scheer]

The movie doesn't even take place in this year. They try very hard to set up. This is like 2007. That they're playing music like. They go, I can't believe Princess Di got killed.

[June Diane Raphael]

That's the first one.

Oh, my God, I forgot about that.

[Jason Mantzoukas]

They have to establish that it's 1997. How are we gonna do that? I guess they could talk about Princess Di and we could show a picture in the newspaper.

[June Diane Raphael]

It was that day.

Yeah, it was 97.

It was 97. And they lingered on the date for a couple of seconds.

That's so true. I thought that was gonna be a big thing. I was like, oh, the killer's like a princess die fanatic. Not used.

[Paul Scheer]

They really. There was no reason to set the tone. Because that scene that. That part of the movie is probably like, four minutes. Like, you don't really need to establish the 90s.

[Jason Mantzoukas]

The movie is all false leads.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

Like, needless false leads.

[June Diane Raphael]

And at the beginning, you don't know that. So you're like, okay, princess died 97.

[Jason Mantzoukas]

Important girls are important. Oh, no, wait, they're not. Okay, great. Whatever.

[June Diane Raphael]

Five minutes later, they were saying names. I wasn't even making any effort to

[Jason Mantzoukas]

tell who they might be writing, too. I wrote a note at one point that said, like, this movie is all useless female names.

[June Diane Raphael]

No, but all the guy names sounded completely ridiculous too. Jeremy Goober and, like, Guy Lafarge.

[Paul Scheer]

Two names, basically, too everyone that's a suspect could be and has probably been in a CW show. Like, they were all about the same age.

[June Diane Raphael]

So, like, is that One Tree Hill? Who is that guy, Everyone? That's exactly right. You don't know where you know these actors from, but they've all been on

[Paul Scheer]

some sort of long soap opera.

[June Diane Raphael]

It will bother you the whole film. Can I also say this isn't out of order. It's more of an overall thing. 90% of the movie takes place on the phone.

[Paul Scheer]

Yes.

[June Diane Raphael]

And when they're. It's like a foreign film in the sense that, like, if he has to fill out paperwork, they show him filling out paperwork.

[Paul Scheer]

Well, because the movie takes place in real time after the phone call.

[June Diane Raphael]

Is that what it is?

[Paul Scheer]

Yes, the minute that you get the phone call. So basically, what happened?

[June Diane Raphael]

Wait, it just became a little bit cooler.

No, it's not, though.

That's why there were no cuts.

Yeah, right.

[Paul Scheer]

Well, not there are cuts.

[Jason Mantzoukas]

There are no time cuts. There are no time cuts.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Although there are. He cheats, like, hugely. In 88 minutes, he's able to traverse the city back multiple times driving a taxicab. Why does he drive a taxi cab?

[June Diane Raphael]

He wanted to get to that. Why does that happen?

[Jason Mantzoukas]

He can't get a taxicab and be like, take me here. He's like, I'm gonna drive $100.

[June Diane Raphael]

Well, I think the idea was, how

[Jason Mantzoukas]

do I move the seat forward? I'm too short. I can't reach the pedals.

[June Diane Raphael]

I think the idea was that he wanted to faster than.

We were fucking dumb.

But he wasn't driving that much faster than.

He wasn't a cab driver. At one point, he asked the guy to get out so they could have a private conversation. We gave him another 20 bucks and was like, give us a moment.

[Jason Mantzoukas]

He's hemorrhaging. Cash. He's hemorrhaging cash to this cab driver who is sitting in the back seat. There's so many shots where Pacino is, like, intensely looking through papers. They're talking on the phone. And in the shot is a dirty cab driver in the back, in the seat behind him, sort of out of focus.

[June Diane Raphael]

Just out of focus.

[Jason Mantzoukas]

Kind of like, what's up, guys?

[June Diane Raphael]

I kept thinking about the guy's agent.

[Paul Scheer]

Like, phil, you got a great scene all with Pacino.

[June Diane Raphael]

With Pacino, you're working for two weeks.

[Jason Mantzoukas]

It's just like Collateral.

[June Diane Raphael]

That's.

[Jason Mantzoukas]

So you're the Jamie Foxx character in Collateral.

[June Diane Raphael]

Do I have a postcard?

[Paul Scheer]

If you have not seen the movie, you will have no idea what we're talking about. Basically. So these girls are murdered. Al Pacino testifies at their trial with a Little Prince mustache. And then the movie cuts nine days later.

[Jason Mantzoukas]

The female lawyer. That female lawyer delivered her dialogue.

[June Diane Raphael]

She's schmacting up a stack.

[Jason Mantzoukas]

Delivered her dialogue as if she was auditioning for, like, Real Housewives. Like, it was mental.

[June Diane Raphael]

Her performance, it was so misogynist from the beginning to end. It is so. The portrayals of women, so erogenistic, so upsetting.

And it looked like the first fucking take.

It did look like the first take. Like, just get this one out of your system.

That's when it hit me that I

[Jason Mantzoukas]

was terrible and John Avnett was like, I feel like I should ask her to come down. Like, 90%. Fuck it.

[Paul Scheer]

Check the gate.

[June Diane Raphael]

Moving on.

[Paul Scheer]

Moving on.

[June Diane Raphael]

She was doing like a Dennis Miller.

[Jason Mantzoukas]

Like, your Honor, my client was flippity chapter.

[June Diane Raphael]

Just as soon as Oedipus finished off his For Reina, like, what the fuck

did you just say? And the judge. You can tell her to shut the fuck up.

And he's just like, I'll allow it.

[Paul Scheer]

So basically, Al Pacino testifies, puts this guy away, and you're fine. We cut to nine years later. Al Pacino wakes up in a bed with this woman who's doing naked yoga

[Jason Mantzoukas]

and brushing her teeth.

[Paul Scheer]

And brushing her teeth in a way

[June Diane Raphael]

that looks like she's fucking giving a sonic arrow blowjob.

[Paul Scheer]

Yes, exactly. She's got it in her mouth and her leg is up.

[June Diane Raphael]

You know, like girls do.

You're right.

[Paul Scheer]

You're right.

[June Diane Raphael]

It's a misogynistic movie. Was that supposed to be like, this guy's got it made.

[Paul Scheer]

Everyone wants to fuck Al Pacino.

[Jason Mantzoukas]

Everybody.

[June Diane Raphael]

That's the craziest thing. Ever since.

[Paul Scheer]

He's, like, the hottest guy of all time.

[Jason Mantzoukas]

Indiana Jones in this movie.

[June Diane Raphael]

And the women they cast, though, are towering over him.

Molly Riddle.

[Jason Mantzoukas]

There are police dogs that are taller than him in this movie.

[Paul Scheer]

Al Pacino in this movie isn't tan. He's mahogany. Like, he's an odd color.

[Jason Mantzoukas]

His wig is out of control.

[Paul Scheer]

Is that a wig?

[Jason Mantzoukas]

Oh, right. Yes, that's a wig.

[Paul Scheer]

It's a pompadour. It's like Bruno Mars pompadour got a pompadour. Like, it's like.

[Jason Mantzoukas]

It's as if he's practicing in this movie for his Phil Spector role.

[Paul Scheer]

It is huge.

[June Diane Raphael]

It does add inches.

[Jason Mantzoukas]

If you're wondering what that banging is. It's Pete Holmes smashing the table every time he's enjoying himself.

[June Diane Raphael]

I'm delighted, and I refuse to come.

[Jason Mantzoukas]

I just don't want people in home to be like, why don't they answer the door?

[June Diane Raphael]

I was gonna do it there, but I didn't.

[Paul Scheer]

So Al Pacino's a fuck machine.

[Jason Mantzoukas]

He's a forensic scientist is what he is. He's a forensic.

[Paul Scheer]

Who is super rich.

[Jason Mantzoukas]

He's not. I just wanna make sure people understand. He's not a policeman.

[Paul Scheer]

And he's so. He's so almost a policeman.

[Jason Mantzoukas]

He acts. It's like csi. It's like csi when you think about it. Like, those guys, they're not police. They are forensic scientists.

[June Diane Raphael]

But he does run. And he's also a professor, but he also runs a firm medical called, like,

[Paul Scheer]

the John Abrams Firm.

[June Diane Raphael]

That does. Question mark anyone.

[Paul Scheer]

Oh, God, yeah.

[Jason Mantzoukas]

Forensic investigations, I assume.

[June Diane Raphael]

I can't.

[Paul Scheer]

But he's like the.

[Jason Mantzoukas]

I have no idea.

[Paul Scheer]

The leading. He's like the leading forensic investigator until this day. The movie. The day. The movie. The movie takes place on this day where everyone turns on him like he's the hero of the world. And then all of a sudden, they're

[June Diane Raphael]

like, what is this shit on Al Day?

[Advertisement Voice]

Yeah.

[June Diane Raphael]

I can't even think of the character's name.

[Jason Mantzoukas]

Jack Graham.

[Paul Scheer]

Jack Graham.

[Pete Holmes]

How you doing?

[Paul Scheer]

Well, first of all, the woman comes back. The woman who he saved, Janie Tate.

[June Diane Raphael]

He kisses her twice.

[Jason Mantzoukas]

He kisses her twice.

[June Diane Raphael]

Twice, tenderly, Tenderly whispers, you did a good job. You did a good job.

He's also. He holds a lot of women's faces in this movie. Like, puts a hand.

[Jason Mantzoukas]

Well, do you know what I think it is? Do you know what I think it is? He has to grab onto something to pull himself up. He has to grab onto something.

[Paul Scheer]

He's using her face as an apple box.

[Jason Mantzoukas]

Pulling up there.

[Pete Holmes]

Can I get a half apple, girl?

[June Diane Raphael]

You did good.

[Paul Scheer]

He kisses her twice.

[June Diane Raphael]

That was another moment where I was like, jesus Christ, I think this movie's gonna be terrible.

[Paul Scheer]

Oh, yeah.

[June Diane Raphael]

Have we gotten to the cookie yet?

Well, that's what the cookie gets to the cookie.

[Jason Mantzoukas]

She makes him cookies. They are basically celebrating that the murderer is going to be put to death that day. Everybody's partying.

[June Diane Raphael]

The murderer, who, as the movie goes, not to tip it early. They just keep overstating that there's no evidence that this guy did it.

[Paul Scheer]

Well, that's the thing. Nine years later, they're mad at Al Pacino, going, hey, hey, wait a second. Maybe you were wrong. Nine years later. Come on, guys. And so he gets these cookies, he goes in to be interviewed, which then opens up to my favorite scene in the movie, which is Al Pacino serving people cookies and milk in a boardroom. In a boardroom.

[June Diane Raphael]

You think it's gonna pay off? I still thought it was gonna pay off. No payoff.

It's gonna be like. There's gonna be a thing, like the

[Paul Scheer]

way he eats the cookie.

[June Diane Raphael]

He dunks the cookie. There's a joke about the cookie at one point.

Jill Hennessy. What's her name?

[Jason Mantzoukas]

No, no, it's Amy.

[June Diane Raphael]

Oh, Amy Brennaman comes out, who plays his assistant, comes out and says, milkmaid.

A real. Yeah, a real line in a movie, not improvised.

[Jason Mantzoukas]

He's like, to her. My favorite line was, he says to her, how come we never got married? And she goes, well, because.

[Paul Scheer]

Oh, I have gay.

[Jason Mantzoukas]

And you're a commitment phobe.

[June Diane Raphael]

Yeah.

[Paul Scheer]

She goes, I'm a lesbian. She goes, I'm a lesbian. Which is even worse.

[June Diane Raphael]

Are you sure? That's why I couldn't have. Oh, my God.

[Paul Scheer]

It goes. That's why we're perfect.

[Pete Holmes]

Yeah, that's why.

[Jason Mantzoukas]

That's.

[June Diane Raphael]

Wait, can someone explain to me, though? So this guy. Milkmaid. So this guy was put away.

[Jason Mantzoukas]

Hey, guys, it's cool if I don't say milkmaid.

[June Diane Raphael]

Like, let's get one.

Let's just get one for safety.

[Jason Mantzoukas]

Amy, I promise we're not gonna use it. Amy, I promise we're not gonna use it. Just give me one.

[June Diane Raphael]

And you're not gonna use the whole take of me lingering way too long, realizing she came in at a bad moment. That's like a 45 second shot of her being like, whoops, cuts to Al, cuts back to her still going, whoops. And then she moonwalks out of the goddamn room.

[Pete Holmes]

Thanks for the cookies.

[June Diane Raphael]

Can someone accept. Explain to me what this guy was like, what evidence there was to Put him away nine years ago.

Never.

[Paul Scheer]

Basically, they're treating him.

[June Diane Raphael]

Eyewitness by.

[Paul Scheer]

They're basically treating it like the fact that Al Pacino testified as a forensic, like, investigator, put this guy away. Like, that's the whole uniform.

[June Diane Raphael]

But there was no DNA.

No DNA. That's what I was saying.

[Jason Mantzoukas]

The eyewitness repeatedly says that she didn't see anything in the beginning.

[June Diane Raphael]

Remember that she did, and we didn't either.

[Paul Scheer]

But then we don't know.

[June Diane Raphael]

Like, no one saw what happened.

Kitty saw, Kitty saw.

[Paul Scheer]

Kitty saw. And the kid. Oh, the Kitty. So basically then, you know. So he kind of. Al Pacino's never phased. He's never really phased by anything.

[June Diane Raphael]

I'm so glad you said that.

[Jason Mantzoukas]

I kept waiting.

[June Diane Raphael]

Like, he gets a phone call that's like, you have 88 minutes to go. And it's like, no problem.

[Pete Holmes]

Call me later.

[Paul Scheer]

Here's.

[Jason Mantzoukas]

And then he starts teaching a class.

[Paul Scheer]

Take a listen to the phone call because it's pretty great to see this. The tenor of Al Pacino. Here we go.

[Jason Mantzoukas]

Yeah, yeah.

[Pete Holmes]

Hello?

[Paul Scheer]

Hello?

[Pete Holmes]

Hello?

[Paul Scheer]

You have 88 minutes to live. What? You know how long 88 minutes can be, don't you? That's a level 45am who's this? TikTok?

[Jason Mantzoukas]

Who the hell is this?

[Paul Scheer]

Hey, hey. What are you saying?

[June Diane Raphael]

What are you saying? And then that's it.

[Paul Scheer]

Then he just looks around the quad as if that person was standing in the quad with him.

[June Diane Raphael]

I'm sorry, I'm jumping out of order, but there's a goddamn motorcycle, man.

[Paul Scheer]

It's.

[Jason Mantzoukas]

What's his name from True Blood.

[Advertisement Voice]

Yeah.

[June Diane Raphael]

Stephen Moyer.

[Jason Mantzoukas]

Stephen Moyer, who winds up having one line in the movie that is said through a closed door.

[Paul Scheer]

That's right.

[June Diane Raphael]

Oh, my God.

[Jason Mantzoukas]

Before he is subsequently shot.

[June Diane Raphael]

He couldn't be more suspicious. Suspicious things are happening to Al Pacino and he investigates everyone. But that guy, he keeps seeing him

and being like, he's in the class three times. He keeps him. He saw him at the quad and he sees him again in the lecture hall.

He sees him in the quad.

Where's that guy?

[Jason Mantzoukas]

Afterwards, he sees him after the class, too. And that's where he's on the phone. And he goes, who is that guy? Who is that guy? The guy is a murderer, but another false lead that is so ham fisted and nothing.

[Paul Scheer]

Basically, Al Pacino's seen this guy now three times. And he just goes, who is this guy? And then goes back to his conference. Anyway, so give me those phone conversations.

[June Diane Raphael]

He meets a sketchy police, a campus security guy. That he has checked out.

[Paul Scheer]

Yeah.

[June Diane Raphael]

And he questions one of his students.

He's like, oh, give me your fucking phone, you piece of shit.

[Jason Mantzoukas]

By the way, he goes, give me your phone. Give me your phone. There is a stranger in the classroom

[June Diane Raphael]

in a goddamn leather jacket, lurking, scowling

[Jason Mantzoukas]

at you, whose name is Guy Lafarge,

[June Diane Raphael]

who, by the way, you saw outside. He saw him outside of his apartment.

[Jason Mantzoukas]

Yeah, no, outside of the girl's apartment.

[June Diane Raphael]

And in a bad flashback, he realizes that everyone in the movie was at that bar last night.

[Paul Scheer]

Yes.

[June Diane Raphael]

In a flash.

[Jason Mantzoukas]

Wait, in a flash. Oh, my God. That flashback made me furious because he has a flash. Okay, we're jumping so far ahead now, but he has a flashback where he realizes that everybody was in the bar behind him. In the flashback, he can see he has perspective on things that are happening behind him.

[Paul Scheer]

He's a forensic psychologist. He couldn't examine his own flashback.

[Jason Mantzoukas]

The flashback goes to Pacino kissing the girl. Then the camera moves off of them so you can see the rest of the people in the bar who are behind him. And he has an epiphany, as if to say, like, oh, now I remember. Now I remember all those things that there's no physical way I could have seen last night because I was. I had my back to all these people and hooah.

[Paul Scheer]

Just again, to draw that thing. Everyone wants to fuck him in that bar.

[Jason Mantzoukas]

Oh, my God.

[Paul Scheer]

He's drinking. And it seems to me that his entire office and his entire class is taught on the case of this guy who doesn't seem that impressive as a killer. It's like he killed two women. Like, why would this thing.

[June Diane Raphael]

No, no, he killed a whole bunch of.

[Paul Scheer]

Oh, he killed all guys.

[Jason Mantzoukas]

No, no. Remember in the phone call where he lists all the names off?

[Paul Scheer]

Okay, so there's a whole bunch of women.

[June Diane Raphael]

Other wacky names.

[Jason Mantzoukas]

Yeah.

[Pete Holmes]

Judy Waddo. Why don't you tell us where the

[Paul Scheer]

body of all the characters are? Like, cut, cut. Like Star Trek. Star wars characters. Like Watto, the guy who works with me.

[June Diane Raphael]

Well, what's the guy's real name?

[Paul Scheer]

Boba Fett.

[June Diane Raphael]

Guy.

[Jason Mantzoukas]

Guy Lafarge.

[June Diane Raphael]

It sounds like a Disney villain.

[Jason Mantzoukas]

Oh, my God. I looked it up at one point.

[Paul Scheer]

Hold on, guys.

[June Diane Raphael]

Not Guy Lafarge.

[Jason Mantzoukas]

You gotta be kidding me. Guy Lafarge.

[Paul Scheer]

I didn't feel like the movie was like an Al Pacino roller coaster. Cause you were waiting for. You're like, oh, when is he gonna lose his shit? He never does. He never does. He never does. You want him to so bad.

[June Diane Raphael]

He's high register Pacino, which you just heard like, who is.

[Pete Holmes]

I wanted to be like, listen to me, you cocksucker.

[June Diane Raphael]

It never went there.

[Paul Scheer]

What is this? Who are you? Yeah, it was always.

[June Diane Raphael]

Well, I think he was. I think he was trying to pace himself for those 88 minutes.

[Jason Mantzoukas]

These are just some of the character names. Guy LaForge, Jeremy Goober, Johnny DeFranco.

[June Diane Raphael]

Wait, who is Johnny DeFranco? Oh, this campus security guy DeFranco.

[Jason Mantzoukas]

JT Ronaldo.

[June Diane Raphael]

Wait, wait, I'm sorry. Johnny. A name that sounds like Ani DeFranco.

Yeah.

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[June Diane Raphael]

And each one more expensive and more complicated than the last. It can be pretty stressful.

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[Paul Scheer]

i mean also Pacino in the like. So basically he has 88 minutes to live. He just seems unfazed by that.

[Jason Mantzoukas]

Yep.

[Paul Scheer]

And to the point where he's like, ah, get my files out. Just find out who's on the top list of people who want to kill me.

[June Diane Raphael]

And his other guesses are, is it you? Like just anybody?

[Pete Holmes]

Anybody?

[Paul Scheer]

It's everybody within his peripheral vision. It's all the people that are right there. It's like Leelee Sobieski.

[June Diane Raphael]

Molly Ringwald.

[Paul Scheer]

Molly Ringwald, yeah. And the guy from the OC, Ben McKenzie.

[June Diane Raphael]

And when they did that push in on all their faces, I was like, is this a joke? It's obviously not someone, is it? Could it be?

[Jason Mantzoukas]

I instantly was like, oh, it's all of them. I didn't think it was gonna be like, they all Looked at him with fuck me eyes.

[June Diane Raphael]

Yeah. Including the O.C.

[Jason Mantzoukas]

yeah. Everybody was looking at him like the Indiana Joneses.

[June Diane Raphael]

Including Guy Lafarge.

Yeah, Guy Lafarge was up for it.

[Paul Scheer]

I just want you guys to know that the guy who wrote this movie also wrote a lot of the Fast. A lot of the Fast and the Furious movies. Hollow Men. And then Canine. The Jim Belushi dogma.

[June Diane Raphael]

Yes.

[Paul Scheer]

And then these, I guess a sequel to Time Cop called Time Cop Berlin. The sequel.

[June Diane Raphael]

I thought you're gonna say the sequel to K9K Town. That would be amazing. I want to yell more about this movie. Just bring up anything.

Well, there was a sequence that really made me crazy, which was when? Okay, so they get. They all have to leave the university because there's a bomb scare. He goes down to his car to get out of there. Lele. What's her last name? Baby Helen Hunt. He finds Baby Helen Hunt in a stairwell. And she's saying that she's just been stabbed or attacked.

She got slapped around or something.

He spends, I think, two minutes of screen time running around looking for a guy who has blood on his hands.

And they don't. And they remember one of them's a woman.

One of the cars that he stops is a woman.

[Paul Scheer]

Oh, yeah, this is my favorite part. Yeah. Cause she said that she bit their. Or they cut their hand. And then basically, Al Pacino's stopping everyone in the parking lot. Let me see your hands. Yeah, I want that as my ringtone.

[June Diane Raphael]

Let me see your hands.

You're looking back at it, but looking back at it all. Cause now, you know, at the end of the movie, we find out that she is the copycat.

[Paul Scheer]

Spoiler.

[June Diane Raphael]

Spoiler alert. She's the Seattle slayer.

And she.

Can I just jump ahead to that?

Yeah, go on. She effortlessly is repelling the girl.

[Paul Scheer]

Yes. I have a big problem with this.

[June Diane Raphael]

It took two men to pull her up, but Lele could do it with one.

[Jason Mantzoukas]

Well, she has psycho strength.

[Paul Scheer]

Yes. Lele Sobieski, at the end, is revealed to be the murderer and has. Has her next victim hanging above a auditorium or some big thing and is holding it in one hand and is able to start tape recorders and do whatever she wants to do.

[Jason Mantzoukas]

She makes phone calls.

[Paul Scheer]

She's so easy.

[Jason Mantzoukas]

She lets the woman fall 10ft, then effortlessly pulls her back up.

[Paul Scheer]

And then all of a sudden, when the action scene happens, the woman drops and Al Pacino's like, ugh. And then, like Al Pacino's buddy, a cop, they both, like, they're trying to

[Jason Mantzoukas]

pull her back up. And now it's impossible.

[Paul Scheer]

But that is, like we said, that is at the end.

[June Diane Raphael]

Can I please. One more thing about that. Was she blind? I don't know who. No one else was confused.

I know she wasn't really blind, but there's a moment. Let me explain.

What are you talking about?

Well, get ready for something weird.

She's so excited.

Al Pacino comes in and Lili Soviet. The movie's so bad, I would have believed anything.

[Paul Scheer]

Yeah.

[June Diane Raphael]

And for a brief moment, I'm being vulnerable right now. I thought that Lili Soli. Another twist was that she was blind.

How? Listen, I will play it for you

right now and you'll know what I'm talking about. Al Pacino comes in and he has a gun drawn.

[Paul Scheer]

Yes.

[June Diane Raphael]

And she's got that weird vacant face, like she's not looking at anything. She's just kind of like soft focus.

[Jason Mantzoukas]

And she says, is that a gun?

[June Diane Raphael]

And she goes, is that a gun? Do you have a gun? And he goes, yes, I have a gun. And then she goes, put it down. And then he's like, I've put it down and slide it over to me. And then he tries to slide it just a little bit. And I was like, because she's flying.

Oh. And now I'm remembering. Actually, there's another point in that where he keeps on saying a number of times, what if I were to tell you there was an FBI agent pointing a gun to your head?

I was like, oh, my God. I played it back in my mind. I was like, we didn't ever see her reading or anything.

[Paul Scheer]

You know what? She could have been blind. She could have been blind.

[June Diane Raphael]

We never saw that before.

[Jason Mantzoukas]

That's in the DVD extras.

[Paul Scheer]

Well, there clearly were things in this movie that were done all in post. And the one thing that I want to bring my attention to is there's a scene in the car with the girl, the redhead, Kim Cummings.

[Jason Mantzoukas]

Kim Cummings.

[Paul Scheer]

And she's with Al Pacino, a real

[June Diane Raphael]

character in an ordinary movie. Most unnecessary sweater removal goes to.

[Jason Mantzoukas]

Oh, my God.

[Paul Scheer]

Well, she obviously, she wants to fuck him too.

[Jason Mantzoukas]

Oh, my God. She is, like, gunning for Pacino.

[June Diane Raphael]

Oh, big time. Big time.

[Paul Scheer]

And, like, he's over in his amazing loft, which, by the way, when he enters into the loft, the security guard, like, he has a thing like, how'd you know my name? Yeah, you're the security guard who works

[June Diane Raphael]

in this fucking building.

[Jason Mantzoukas]

And then Kim and the security guard share a look that is, like, real weird.

[June Diane Raphael]

I'm remembering that Differently. It's a temp guy. He goes, where's Earl? But, you know, you're right that there's something fucked up happening. He goes, where's Earl? And he goes, oh, I'm not the. He might as well just go, I'm not the murderer.

[Jason Mantzoukas]

I'm a suspect as well.

[June Diane Raphael]

That also happened when Molly Ringwald is in the parking garage. He's like, what are you doing here? And she's like, I'm just coming here to get my car where I always leave it. I'm not the murderer.

[Paul Scheer]

She might as well just do that. But I feel like everyone in this movie was acting like everyone should say their line and then twirl their mustaches. Like, yeah, maybe, Maybe. Maybe everyone's a maybe.

[June Diane Raphael]

So this guy isn't Earl. The door guy isn't Earl. And he goes, Doctor. What's his name? Dr. Graham.

[Pete Holmes]

Graham.

[June Diane Raphael]

He goes, Dr. Graham, there's a package for you.

[Jason Mantzoukas]

And then he goes, okay.

[June Diane Raphael]

And then he goes, how did you know my name? And he goes, I didn't.

[Paul Scheer]

It was a question.

[June Diane Raphael]

So let me get this straight. Everyone that comes in, you're going, Dr. Graham. And if you say yes, you get the package?

[Paul Scheer]

Yeah. What kind of a door guy are you?

[June Diane Raphael]

This is why you're a goddamn temp and not a real door.

[Paul Scheer]

But maybe the killer went in and said, when you see a very short man with a crazy beard and very tan skin come in, he's gonna look

[June Diane Raphael]

a child to you or I. That's a Lord of the Rings reference.

[Paul Scheer]

He probably. His head won't pass. His head will not go past your desk.

[Jason Mantzoukas]

If you see troll hair walking by

[Paul Scheer]

your desk, if you look, you see

[June Diane Raphael]

a man that belongs atop a pencil, give him this. There were so many eerie shots of that door guy that I thought for sure, still investing and committing to the movie, I was like, surely this man is important.

[Jason Mantzoukas]

A solid 90% of this movie is Al Pacino answering and talking to it on a cell phone.

[June Diane Raphael]

This movie should just phone call. Telephone calls.

[Jason Mantzoukas]

I should just. And he's always like, phone calls? Yeah.

[June Diane Raphael]

You know, and there's always caller wait, call waiting and stuff. He's like, let me conference you in.

[Jason Mantzoukas]

So much so he's getting. The bad guy is able to just hijack phone calls.

[June Diane Raphael]

That's it.

[Jason Mantzoukas]

He's on the phone at one point with whoever he's on the phone with. And then the bad guy's like, did you get TikTok? Did you get my package? Or whatever. You can't do that. There's no rule.

[Paul Scheer]

Like, he just jumped in. I mean. Oh.

[June Diane Raphael]

And so basically, can I say one thing?

[Paul Scheer]

Yeah, go ahead.

[June Diane Raphael]

About the door guy is. You know what this movie's like?

It's like life. Cause you keep meeting people that don't

[Paul Scheer]

have anything to do with anything.

[June Diane Raphael]

It's like, hi, I'm Ben.

I'm like, you don't have anything to

do with my storyline.

[Jason Mantzoukas]

Why do you have a full name? I can't deal with this.

[June Diane Raphael]

But he goes, they do. Everyone has a full name.

[Jason Mantzoukas]

What about Sarah Jacobs? What about Bethany Monroe?

[June Diane Raphael]

This movie?

[Jason Mantzoukas]

Who are all these people? Why does everybody have full names? There's a girl who literally walks by and goes, hi, Dr. Graham. And he goes, hi, Lauren. That's the sum total of her acting performance. Hi, Lauren.

[June Diane Raphael]

But you're weak. Why do we care about Laura?

[Jason Mantzoukas]

Is she a suspect?

[Paul Scheer]

I feel like Al Pachito's like, I gotta name everybody. I'm a very famous guy in this campus. But that even.

[Jason Mantzoukas]

Al, could you stop making up names for the day players?

[Paul Scheer]

Hello. Theresa McDonald. Nice to meet you. How's your yogurt shop? I hope it's doing well. I enjoy that yogurt very much. I'll see you tomorrow. I only do yoga Mondays and Wednesdays.

[Jason Mantzoukas]

Goodbye, Trisha McDonald.

[June Diane Raphael]

So much information. And it's flushed immediately.

If you watch this movie, and I hope you do, pay no attention, pay no attention. You'll learn.

All these people.

[Paul Scheer]

The doorman. I do want to point this out. I don't know how to say it, but picture the doorman putting his face against the wall and kind of just like. He also does that thing. He's like, all right. He's just staring at him with his face. Wait, the wall. He kind of rounds that corner when Al Pacino's getting into the elevator. And he's kind of like. Like, just staring at him. Super creepy.

[June Diane Raphael]

And he's got, like, a scar on his neck. And I was like.

[Jason Mantzoukas]

And, like, a weird eye.

[June Diane Raphael]

He's a killer. But everybody's the killer.

Why was Kim giving him that crazy look?

Who? Oh, nice. And why did he.

They used the take where he explained that somebody called.

And he uses the flashlight.

[Paul Scheer]

Oh, yes. The phone.

[June Diane Raphael]

He's like, yeah, somebody called for you. And he holds up the flashlight. And he did that in a scene with Al Pacino.

[Jason Mantzoukas]

Hey, Mike, I like the choice you're making just to tell Pacino somebody called for him. But, like, maybe he's not gonna get what a call is, so could you just hold up?

[June Diane Raphael]

I don't know.

[Jason Mantzoukas]

Hold up your flashlight to your ear to insinuate that it's a fall call.

[June Diane Raphael]

I actually think that's the only guy in the movie that was aware that it was like a comedy. He was like, I'm do it funny. I'm going to do a funny take.

[Paul Scheer]

Whoa, dude. I almost forgot about my favorite scene, which is, I guess there's smoke coming through the building and they have to escape. And then Al Pacino does this thing where he jumps in front of a fire truck for no reason, just to roll out of the way of it.

[June Diane Raphael]

Alone in my apartment, Daylight laughed for

about a minute, but that made me really sad because I felt like that was totally added in because Al Pacino's like, you know, I want to look like an actual. That really bummed me out.

He's a terror. I love Tom Cruise.

[Jason Mantzoukas]

Tom Cruise.

[June Diane Raphael]

Great runner. Alpine. Not a good runner. Every time he runs, he looks like he's holding two eggs in his hand that he doesn't want to break.

It wasn't like he was doing anything heroic or trying to help.

He wanted to.

He just got in the way of

[Paul Scheer]

a truck, a fire truck, and just kind of rolled out of the way of it.

[June Diane Raphael]

And then his car blows up. Spoiler. His car blows up. And we all knew it was gonna blow up. But then I was like, the whole point is that they're gonna kill him at a specific time, but they rigged

[Jason Mantzoukas]

his car to blow up just so they could get him early.

[June Diane Raphael]

What if they did get him?

He would have been like, well, fuck. I had this whole finale where I'm wearing the Catwoman suit and I'm Baby Helen Hunt.

[Paul Scheer]

But there's no like.

[June Diane Raphael]

And why was that apartment on fire?

Why did anything happen?

[Jason Mantzoukas]

I think to drive them out. I think to drive them out. I think to get them out of the apartment.

[June Diane Raphael]

It was around that moment that I realized this movie wasn't 34 blocks or whatever.

[Paul Scheer]

Oh, yeah, right.

[June Diane Raphael]

I thought it was gonna be like that. I was like, why isn't this in New York?

[Paul Scheer]

34 blocks would be another one we should do. I'm sure that's just equ.

[June Diane Raphael]

This movie's precious.

[Paul Scheer]

Go ahead.

[Jason Mantzoukas]

Oh, I was just gonna say this is the point where he hijacks the cab, which is. Oh. But before that, too.

[June Diane Raphael]

This is the point in the movie, though. You want him to just say, get

out of the cab.

Like, we're going to.

I am going to die.

He's negotiating. He's like, how you doing?

[Jason Mantzoukas]

I'll give you $100 if you let me take your cab.

[June Diane Raphael]

I can drive your cab. You can stay in it. Sure.

[Pete Holmes]

What is your full name?

[Paul Scheer]

What is your wife's name?

[Jason Mantzoukas]

What's her maiden name?

[Paul Scheer]

It's like a memory. The whole movie's a memory game at the end. Oh, wait, did we forget about the. Where did he get the. The. The interview on tv.

[Jason Mantzoukas]

Oh, yes, that's why. That's one of the things I was gonna say.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

The bad guy conferences in Mike Ditka.

[June Diane Raphael]

He calls Mike Ditka. Wait, what?

[Paul Scheer]

The guy with the slick area looks like the guy that he wronged for Neil McDonough.

[Jason Mantzoukas]

Neil McDonough's on, like, CNN. MSNBC, rather.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Being interviewed with Deirdre McConnell.

[June Diane Raphael]

I still don't get it.

[Pete Holmes]

He's like, it's being simulcast. Just set it.

[Jason Mantzoukas]

Call MSNBC and get me on with this guy.

[June Diane Raphael]

What does that even mean?

[Jason Mantzoukas]

And so he calls in. He has minutes to live, but has time to call MSNBC to talk to those. To talk to Neal McDonough and, like, try. And he's like, I'm gonna mess with his head.

[Paul Scheer]

Yeah. You know, I'm gonna get him.

[Pete Holmes]

I'm gonna get him to come out of his shell.

[Paul Scheer]

And that's probably the best. Best Pacino of it, like, in the movie. Yeah, tell me. Tell me about Dahmer did it.

[Pete Holmes]

You fucking cocksucker.

[Paul Scheer]

And then they have this argument where, like, oh, by the way, this movie is obsessed with TiVo. You hear that? That was added in post.

[June Diane Raphael]

Cause they realized later, they were like. He just pauses the television.

Isn't it 19?

Oh, it's 2,000.

[Paul Scheer]

And then also he. In the middle of the interview, the guy gets a stay of execution. And then he has stopped the interview. The interview's over. Like, okay. It's just. They just go away from. They were in the middle of this

[Jason Mantzoukas]

heated exchange, and Pacino just pushes paws and hangs up.

[Advertisement Voice]

Yeah.

[June Diane Raphael]

And then also he called into CNN or whatever. Msnbc, msnbc, msnbc, msnbc. He calls in. It's not enough that he's having a conversation with the guy that's on his tv. We got the fucking cop partner conferenced in, so he can hear it, too.

[Jason Mantzoukas]

I kept wanting to be like, simulcast

[June Diane Raphael]

7:50am why would anyone.

[Jason Mantzoukas]

He must be on a delay.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

There's no way he can be in real time on the TV and listening to the tv. It would literally be a delay. And they would be like, please turn your TV off.

[June Diane Raphael]

Yeah, go into another room.

[Paul Scheer]

And the other thing was, too.

[June Diane Raphael]

Are you watching this while you're doing it. What the fuck?

[Jason Mantzoukas]

And the picture of him that they use on the TV when he's called in is like a jack off shot. Yeah. It's almost like, hey, hey, hey. Jack right here. And he's like, huh.

[Paul Scheer]

He looks like he's been frightened by a ghost. And I love the fact that he's

[June Diane Raphael]

unaware that his photo's being taken in that photo. It's just like, ugh.

[Paul Scheer]

His cop buddy is listening. And the cop buddy knows that he has 88 minutes to live. And the guy's like. The killer's like, what if you only had minutes to live? Yeah, clearly saying like, he's in on it. And then the cop buddy doesn't trust him. Two seconds after that. It's like, ah, you're lying.

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[June Diane Raphael]

expensive and more complicated than the last. It can be pretty stressful.

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[Pete Holmes]

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[June Diane Raphael]

21/ can I say something about the film overall is. It's like.

[Pete Holmes]

I don't.

[June Diane Raphael]

I don't. Will this make sense? I don't know. This movie was so clearly written by one person. What I mean by that is every character is the same. They all just kind of. They talk the same. Everything is just in service of the story. And this is the thing that I wrote down that's funny. They round this thought out. We didn't talk about how he breaks his cell phone for no reason. Right? There's a scene where he breaks his and you have to Watch American Treasure. Al Pacino pretend to drop his cell phone in the stairwell. And it's broken in a way that only could be done with, like, a bullet.

[Jason Mantzoukas]

Yeah.

[June Diane Raphael]

And he just dropped it on the ground the way we do.

[Paul Scheer]

He gingerly dropped it.

[Jason Mantzoukas]

He gingerly.

[June Diane Raphael]

And he kind of gives a voice.

[Jason Mantzoukas]

He bobbles it.

[Paul Scheer]

Oh, oh, oh.

[Pete Holmes]

What if I maybe do, like, a bobble.

[Jason Mantzoukas]

John. John, get over here. John. I had an idea. What if I bobble. Bobble.

[Pete Holmes]

I'm looking at the phone, I'm looking at the way it's broken.

[Jason Mantzoukas]

Right.

[Pete Holmes]

And I don't.

[June Diane Raphael]

I can't do it without Alphabet.

[Paul Scheer]

You're great. I love that alpitude.

[Pete Holmes]

I don't think it would be realistic if I don't bobble it.

[June Diane Raphael]

So anyway, no reason. He breaks the cell phone, and you're like, oh, that's kind of interesting. Because now he doesn't have any contact with the killer. And the whole premise of the movie is that he's gonna be reminded how many minutes. And then he gets enough on their

phone, and he gets all his calls forwarded to that. Why were we forced to watch that?

[Jason Mantzoukas]

What's the point?

[June Diane Raphael]

What is the point of that?

[Paul Scheer]

But. And then my favorite moment at the end when he kills Lily Sobieski, saves the day, everything's going good. Then the killer calls him on the phone thinking he's Lili Sobieski. And then he has a big speech to him. He's like, you messed up.

[June Diane Raphael]

And he's holding the phone apart from his head.

[Paul Scheer]

Yes.

[June Diane Raphael]

Interesting choice.

[Paul Scheer]

And then he goes. He goes, what? He says, like, 12 hours to live. TikTok.

[June Diane Raphael]

And then he throws the phone. I thought, okay, I'm the same guy that thought Lele might be blind, but I thought the phone was gonna explode.

It would have made. Oh. Oh, it would've made this much.

[Jason Mantzoukas]

What was his backup plan was an exploding phone.

[June Diane Raphael]

Oh, yeah.

[Paul Scheer]

Nine. And then the whole thing was like, when he goes up to confront Lily. So beyond. She makes him confess now.

[June Diane Raphael]

And he confesses immediately.

[Paul Scheer]

He confesses immediately. But I don't understand as a viewer, if he did coach those people, if he did hide evidence, because at the end of the movie, he kind of takes that tape and puts it in his pocket.

[Jason Mantzoukas]

Like, guys, what was she gonna do with that tape?

[Pete Holmes]

I don't know.

[Jason Mantzoukas]

She's a murderer at this point. She's not gonna, like, go and now introduce it as evidence. Right.

[June Diane Raphael]

It doesn't make any fucking sense.

[Paul Scheer]

I guess every part of the movie, too. Cause there's a couple moments where, like, the Molly Ringwald clone calls him up, and she's like, I did it. I'm behind the whole thing. You're like, oh, okay, I buy it.

[Jason Mantzoukas]

No, that's because Lele Sobieski has a gun to their head.

[Paul Scheer]

Right. But you don't know it at that point. But even at that point, you're like, okay.

[June Diane Raphael]

I guess that always seemed really obvious to me, though. I know. We could see her and she was sweating and stuff. But he would always buy it. He'd be like, hey, meet me in your apartment. It's me. I've been setting you up.

[Jason Mantzoukas]

It's me.

[June Diane Raphael]

And he's like. He keeps getting those calls.

[Paul Scheer]

Well, the whole time, the whole tape that sets off the whole day is a woman going like, jack Graham totally lied, and he did all this bad stuff. Did I say everything you wanted me to say? Now, don't hurt me. And it's like, all right. This tape implicates you. It's like she was clearly under fucking duress. She said it on the tape.

[Jason Mantzoukas]

She mispronounced one of the words.

[June Diane Raphael]

She got nervous for the reading.

[Jason Mantzoukas]

Why would you believe someone who's you then watch Be murdered for over an hour.

[June Diane Raphael]

Yeah.

Wait, but I have a question. How? Oh, I guess Leele Sobieski got the semen from the hooker to place in those bodies.

[Paul Scheer]

Yeah. Cause she was. She made out with the hooker.

[June Diane Raphael]

Am I the only one that was. Oh, wow. I stopped crying at that point. Also in that scene where they were like, they found your semen in her vagina. I was like, wow. Fucking taking some risks.

Yeah, I thought that, too.

Right in the cave, right up there.

[Jason Mantzoukas]

That's what I thought.

[Paul Scheer]

I was like, this is a girl

[June Diane Raphael]

he met at the Buddy Wrap It.

[Paul Scheer]

Raw doggin it. Raw dogging it.

[Jason Mantzoukas]

I'm Jack Graham, forensic scientist. I don't use condoms.

[June Diane Raphael]

What's the word?

Thing about this movie?

A man who makes his living swabbing up semen just blows.

[Jason Mantzoukas]

That's probably why he was so shocked to find out she was an escort. Wait. Wait a minute. What? I barebacked that girl.

[June Diane Raphael]

That's why he was so upset.

[Paul Scheer]

He's gotta go in.

[Jason Mantzoukas]

Hang on. I thought she was a law student. I wouldn't have raw dogged her if I knew she was an escort.

[Paul Scheer]

He spent 15 minutes going to a clinic to get tested in the movie.

[Jason Mantzoukas]

That explains this burning. I've got, uh.

[Pete Holmes]

Oh, I guess I do have 88 minutes to live.

[June Diane Raphael]

He's gonna fucking die. From an aesthetic.

[Paul Scheer]

June. Do you want to do June? Had we Have a new segment that we would like to do here. This is a segment called say what? And basically, we're just gonna just take a piece of dialogue. If you guys remember this, you know, Pete, you should actually do it. Cause you actually do a good Al Pacino. You read the Jack parts.

[June Diane Raphael]

Just take a second to read it.

[Paul Scheer]

And this is one of my.

[June Diane Raphael]

I'll be reading, Shelley.

[Paul Scheer]

All right, here we go.

[Pete Holmes]

Shelly, there's been a break. In my place, in the most.

[Jason Mantzoukas]

In my mo. Sorry.

[Pete Holmes]

In my most secure area. Did you ever give anyone clearance to go into my secure files check?

[June Diane Raphael]

What are you saying?

[Pete Holmes]

Did you ever let an unauthorized person into.

[June Diane Raphael]

I can't read it. This is a real lie.

[Pete Holmes]

Did you ever let an unauthorized person into my secure files area?

[June Diane Raphael]

That's a line that American treasure Al Pacino memorized and delivered multiple takes.

[Jason Mantzoukas]

Or there was a better line that he forgot and just made that one up.

[June Diane Raphael]

My most serious child delivery. Give me the end of that.

I gotta do it again.

Give me the end of that piece.

[Pete Holmes]

Did you ever let an unauthorized person into my secure files area?

[June Diane Raphael]

Wait, no. You missed one of the words.

I did. I gotta get it right.

[Pete Holmes]

Did you ever let an unauthorized person into my secure files area?

[Paul Scheer]

No.

[June Diane Raphael]

Not ever? To anyone, Ever?

That's a real lie, Al. Heard that.

Things happen.

[Jason Mantzoukas]

Did you? Did that Sounds like. That's like the most dirty. My most secret secure area.

[June Diane Raphael]

My secure files area.

[Paul Scheer]

That woman.

[Jason Mantzoukas]

Where did the man touch you? Where did the man touch you? In my most secure files area.

[Pete Holmes]

Can I. I know you're an escort, but can I come in your most secure files area?

[June Diane Raphael]

Her name is Shelly, too. And there was actually a heartbreaking moment. Cause Glengarry Glenn Ross is one of my favorite movies of all time. And Jack Lemmon's name is Shelly.

[Pete Holmes]

So there's a moment where Al Pacino goes, shelly.

[June Diane Raphael]

And I'm like, aw, yeah. So great.

[Jason Mantzoukas]

She also is De Niro's girlfriend in heat.

[June Diane Raphael]

Really?

[Jason Mantzoukas]

Which is like the other Pacino crazy, you know, insane. Those two face off in the diner, blah, blah, blah. But Amy Brennaman, like, one of my

[June Diane Raphael]

favorite moments, though, is when he calls her. All of their scenes pretty much are over phone calls. But he calls her to say, call the cell phone company and find out who just called me. And he's like, trace the call. Just find out. And she goes, okay. She hangs up and writes something on a post.

She wrote, trace. I totally noticed. She's gonna forget to do what he just asked for. They were like, do it.

[Paul Scheer]

When you have A chance. It's like, do this immediately.

[June Diane Raphael]

And she was like, if you told me what was going on, I could help. Mort.

[Pete Holmes]

No, fucking do the trace. Get the fuck out of my goddamn face.

[Paul Scheer]

Obviously we had to with the movie, but there are some people who really love it. I'm gonna visit some Amazon.com reviews for a second opinion. Warren Christensen writes, al Pacino is not disappointing. It's worth twice whatever you pay for it. Five stars. Milton K. Gonzalez.

[Jason Mantzoukas]

We should sell that guy copies of this movie for twice what they're worth.

[June Diane Raphael]

That was my first impulse, was to go on Facebook, type an 88 million and see who had it as their favorite movie.

[Paul Scheer]

Oh, there's a lot of five star reviews. Milton Cake Gonzalez's is my favorite though one of the well acted movie with a real definition of the story. Al Pacino is very good actor for this movie because when you see this film is like you are living it.

[Jason Mantzoukas]

Wow, he's right about that.

[June Diane Raphael]

Yeah, that's true.

I kind of wish I had known that real time 88 minute thing because it really did. I couldn't quite put my finger on what was so fucked up about it.

We haven't even gotten into what the significance of the 88 minutes.

[Jason Mantzoukas]

Oh, guys, the dead sister, Kate, Graham,

[June Diane Raphael]

he listens to that tape, by the way. He gets a fucking serial killer, sends him a tape recorder. He's got Molly Ringwald in there removing sweaters for no reason and poses. And he's down the stairs and he just starts listening to it casually. He's like, I'm sure this is disturbing. Oh, it's my first.

[Paul Scheer]

He checks chemicals.

[June Diane Raphael]

First he checks it for chemicals and then there aren't any. Useless.

Why that was in there.

He was like, I have one of

[Pete Holmes]

these things that they use at the tsa.

[Jason Mantzoukas]

Okay, it's clean. He opens it. Not a bomb, just not a bomb.

[June Diane Raphael]

And the scan screen was a gas mask. And he goes scanning, scanning, scanning, safe.

Why it's so bad. It's so bad you have to watch it.

[Jason Mantzoukas]

He then has multiple. He flash. He has so many flashbacks in this movie. Yeah. He flashes back to the bar again. He flashes back to his dead sister flying a kite.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

He is like. He is a man who I believe might be having some sort of aneurysm where all he does is have continuous flashbacks.

[June Diane Raphael]

That scene where he's driving, the first time you see his sister riding on the bike, I was like, there's already too much happening. And they introduce the sister being dead and she was murdered over 80 years ago.

The moment, too, is when they do. When Amy Brenneman does trace the call, she finds out that it's a cell phone that you can buy at a convenience store, but it was registered to the name Kate Graham. And then she says, I'm sure this is a coincidence.

Yes, prob.

[Paul Scheer]

Probably not.

[Jason Mantzoukas]

In your line of work.

[June Diane Raphael]

Yes, there should not be coincidence when

[Paul Scheer]

there are people that are killing you all the time. There's no coincidence. Yeah, she's a bad secretary. I don't even know if she's a secretary or is number two.

[June Diane Raphael]

That was one of those lines where you could tell the movie is a little dated because she was like, it's one of those cell phones that you can buy and just load with minutes. Prepaid cell phone, I think they call it. But it was registered to someone's name.

[Jason Mantzoukas]

Yeah, that's the point of a prepaid cell phone.

[Paul Scheer]

It sounds like drug dealers use.

[Jason Mantzoukas]

So she's like, it's a burner phone from the Wire.

[Paul Scheer]

So, parting thoughts? Would you recommend that people watch this? Where does this fall on movies?

[June Diane Raphael]

I think it's watchable, for sure.

[Jason Mantzoukas]

I don't know. I was really annoyed by it.

[June Diane Raphael]

I would say there's a good chance I'm gonna watch it again with friends this time because it was a pure delight. And the funniest thing I've heard in months is, he's not a.

[Paul Scheer]

He's not a cop.

[June Diane Raphael]

He's not a cop.

[Paul Scheer]

Everything will lead you to believe him to be a cop, but he is not a cop.

[June Diane Raphael]

The whole story here, like, oh, this is clearly not a cop.

[Jason Mantzoukas]

Essentially a scientist. And don't they say, which is irrelevant.

[Paul Scheer]

Oh, man.

[June Diane Raphael]

What is the funniest thing? Essentially a scientist.

[Paul Scheer]

If you do watch this movie, which I don't know if I recommend, but. Cause, you know, it actually opens up this whole world of the second life of Al Pacino, which I think we should get into on this show.

[Jason Mantzoukas]

He might be our new Nicholas Cage.

[Paul Scheer]

Oh, my God. There's one thing I did want to point out, which was Jet City Improv.

[June Diane Raphael]

I was gonna say that.

[Jason Mantzoukas]

Wait, I didn't see that.

[Paul Scheer]

They're having, like, a scene. Him and the cop are having a scene. And behind him, like, perfectly framed, is a flyer for an improv company. Like a Seattle improv company. The whole movie. I can't believe you didn't see it.

[Jason Mantzoukas]

That's funny. I didn't see that.

[June Diane Raphael]

As if the whole movie was a ruse just to plug.

[Jason Mantzoukas]

Because they're in Seattle. At one point, he gets into a Car and there's talk radio on. I was like, please let it be Frasier Crane. I was like, begging for it to be like, hello, Seattle. Dr. Frasier Crane here.

[Paul Scheer]

I'm listening. And I just typed in on my computer. Jet City Improv. It is real. Seattle's best comedy show. Seattle short form improv troupe. Offers all ages shows and classes and Al Pacino.

[Jason Mantzoukas]

I would like them to call in. I would like them to call in and let us know if they saw

[Paul Scheer]

these guys in Seattle.

[Jason Mantzoukas]

I want to ask guys from an 88.

[June Diane Raphael]

Great.

[Pete Holmes]

Can we get it?

[Paul Scheer]

And it's not really even a proper flyer. It seems like something that you would make and just pop it up.

[June Diane Raphael]

Yes.

[Pete Holmes]

Can I get a suggestion of a space that would fit on this stage? I'll give you $100 for your cab.

[Paul Scheer]

So that is 88 minutes. I'm sorry.

[June Diane Raphael]

It was just a good hour. $100.

Not for your cab. Really?

[Pete Holmes]

Let me be clear.

[Jason Mantzoukas]

Okay. Okay. $100 plus tip.

[Paul Scheer]

That's right. Sit in the back while I investigate.

[Jason Mantzoukas]

Yep. I'm gonna drive. You'll be in a lot of shots.

[June Diane Raphael]

Kim's gonna sit in the passenger seat.

[Jason Mantzoukas]

Kim's gonna sit up here. She looks weird. She's suspicious. She carries a gun. She's in an abusive relationship.

[Pete Holmes]

Please.

[Jason Mantzoukas]

She has a very strange waist area.

[Paul Scheer]

And here's the Easter egg moment. And here's the Easter egg moment. You have to just watch a completely 80 yard scene, which means they added in the dialogue way after the movie was done of Kim, like, talking to him. Because she's never talking in the car. It's all done over flashback and voiceover. It's so bad. I didn't notice that when they had that whole conversation in the car. She's like, you need to give me answers. You need to tell me what's going on. She's not saying any of that. They just creatively shoot around her.

[June Diane Raphael]

They needed to do that because otherwise it would seem that his monologue about his sister was out of nowhere, which it probably was.

They got some studio notes and they went back with Ringwald studio notes.

[Paul Scheer]

And then Ringwald Bazaar went well. Thank you guys so much for listening. Thank you, Pete Holmes.

[June Diane Raphael]

Thank you, guys.

[Paul Scheer]

Anything you wanna plug.

[June Diane Raphael]

Anything.

Pete just. You made it weird, man. Other podcast people enjoy that one and have all these people on us.

[Paul Scheer]

And you are Etholmes at Twitter, right?

[June Diane Raphael]

Pete Holmes with a Z. Oh, there you go.

[Jason Mantzoukas]

All right.

[Paul Scheer]

Pete Holmes with a Z. I'm Paul Scheer at Twitter.

[June Diane Raphael]

Missjunedian.

[Jason Mantzoukas]

I'm not on Twitter, guys.

[Paul Scheer]

All right. That's the way we do it. See you next time.

[Pete Holmes]

Bye.

[Jason Mantzoukas]

Bye.

[Paul Scheer]

Oh, and thank you very much to our engineer, Dustin.

[June Diane Raphael]

Thank you so much for doing it, dustin.

[Paul Scheer]

Thanks. Bye.

[Pete Holmes]

$100 for you camp.

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[June Diane Raphael]

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[June Diane Raphael]

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