Hard Target LIVE! (HDTGM Matinee)

Summary

Podcast Summary: How Did This Get Made? — Hard Target LIVE! (HDTGM Matinee)

Podcast: How Did This Get Made?
Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas
Episode: "Hard Target LIVE! (HDTGM Matinee)"
Date: February 3, 2026
Location: Live in New Orleans

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Episode Overview

This live episode brings the HDTGM crew—Paul, June, and Jason—to New Orleans to discuss the 1993 Jean-Claude Van Damme classic "Hard Target," directed by John Woo. The group dives into the wild excesses and idiosyncrasies of this action movie, a film where homeless veterans are hunted for sport in New Orleans by Lance Henriksen’s villainous character and his cronies. The episode features classic HDTGM banter, crowd interactions, deep dives into movie logic (or its absence), sartorial choices, mullets, violence, and the weird magic of both John Woo and Jean-Claude Van Damme movies.

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Key Discussion Points & Insights

1. Initial Impressions and Plaudit for "Hard Target"

• June’s Surprising Admiration: June gushes about her love for the film, expressing confusion over why it isn’t on more esteemed movie review podcasts.

"I don't know why we're doing this movie on this podcast and not unspooled." (06:19, June)

• Praise for Cast and Director: The trio celebrates John Woo's directorial choices and highlights Jean-Claude Van Damme's restrained (by his standards) performance as potentially his best.

  “JCVD perhaps. Never better.” (07:17, Jason)

• Van Damme's Accent: The only city where his Belgian-French accent fits: New Orleans.

  “A city in which his accent somehow works. The only place.” (07:25, Jason)

2. The Jean-Claude Van Damme Factor

• Bunless Van Damme: The hosts point out the lack of signature Van Damme butt shots in this movie.

  “This is a bunless Jean Claude Van Damme movie.” (07:54, Jason)

• Physical Presentation: Extended discussion about his mullet, billowy shirts, and slow-motion shots emphasizing his look more than his acting.

  “Maybe John Woo's best movie for his aggressive, slow mo is just Jean Claude Van Damme's body.” (08:45, Jason)

• Dialogue Limitations & Movie Logic: The crew observes June's discomfort whenever Van Damme's character says “daddy," highlighting the strange energy in his attempts at emotional dialogue.

  “It seems that no one ever taught him the word dad in English.” (09:28, June)

3. Lance Henriksen: Villain Par Excellence

• Standout Performance: Henriksen’s intensity and awareness of the genre are a big highlight.

  “Lance Hendrickson is now, I think, my favorite How Did This Get Made actor. Not because he's bad, is because no matter what movie, he is amazing.” (11:30, Paul)

• Behind-the-Scenes Anecdotes: The infamous scene where Henriksen was actually set on fire and kept acting, which made the final cut.

  “Lance Henriksen caught fire during the movie, did not break character, and they left it all in the film.” (12:47, Paul)

4. Movie Setting and Absurdities

• Empty New Orleans Streets: Observations about the surreal emptiness of the French Quarter, justified by the police strike plot point.

  “The whole movie. The streets of New Orleans are empty, which is legitimately impossible...” (14:06, Jason)

• Police and Unions: June wonders aloud about the detective’s position on the union battle and the force's general absence.

  “It looks like her entire force is protesting and on strike outside except for her.” (15:03, June)

• Baffling Production Choices: Regular digressions on oddities, such as Van Damme's improbable local background and Wilford Brimley's Cajun accent.

5. Action Sequences & Stunt Talk

• Weapons and Fights: The movie showcases everything from arrow-launching rifles to excessive gunplay to Van Damme’s thighs as secret weapons.

  “We're showcasing different types of weapons... And JCVD's thighs.” (29:38, June)

• Physics-Defying Fights: Jason points out JCVD’s impossible martial arts, especially against helmeted assailants.

  “He would have been like kablam. And his entire leg would have been like dust.” (29:27, Jason)

• Chase and Stunts: Extended talk about the iconic motorcycle bridge stunt (62:55), with Jason noticing the presence of a stunt double and commenting on the logistics of the character's skills.

6. Character Interactions and Plot Holes

• Unlikely Romance: The hosts note the lack of chemistry and on-again, off-again “mouth issues” between Van Damme and the female lead.

  “It wasn’t the right time. This movie didn’t really understand. Like, it’s like, oh, your friend just died. Give me those lips…” (20:49, Paul)

• Supporting Cast: The death of the detective is acknowledged as a misstep, with June lamenting the lack of payoff for a compelling character.
• Rich Hunt the Poor: Discussion about the film’s central concept, skewered for being so one-sided.

  “This movie is about the rich hunting the poor against their knowledge. Really.” (10:23, Paul)

7. John Woo’s Stylistic Signatures

• Slow-Motion and Doves: Slow-motion is used with abandon, sometimes for inexplicable scenes (paying for gumbo). Pigeons—John Woo's avatar for doves—serve as unlikely helpers for JCVD.

  “This is signature John Woo doves and pigeons. This is a. This is one of John Woo's artistic signatures, which is slow motion doves.” (71:07, Jason)

• Western Tropes and Editing: John Woo incorporates Western visual cues, especially with Lance Henriksen’s piano scene and his use of wipe edits reminiscent of Star Wars/serials.

  “This movie has full swipe edits throughout that are like Star Wars that are from 30s and 40s serials. It’s fucking nuts.” (65:38, Jason)

8. Wilford Brimley’s Iconic Role

• Late-Entrant MVP: His late introduction and over-the-top Cajun accent become running jokes, coupled with his inexplicable survival skills and use of bird calls.

  “Wilford Brimley is his uncle. Or just does he refer to him—Uncle and he was raised in the bayou.” (32:28, June)

• Attempt at a Creole Accent: The hosts marvel at Brimley’s accent and acting choices.

  “He’s made a choice and he's regretting it.” (67:07, Paul)

9. Audience Q&A and Live Energy

• Live Insights: Audience questions dig into weird movie logic (the river escape rule, the role of birds, the misfit arsenal), local New Orleans knowledge, and what could have been with the villains as central characters.
• Running Gags: The audience and hosts riff on the phrase “daddy,” the erotic energy of the villain pairs, and technical explanations of firearms and snakes.

10. Final Thoughts and Five-Star Review Segment

• Amazon Review Highlights: Hilarious, oddly personal, or off-topic five-star Amazon reviews are read and discussed.

  “This one's for the Husbands.” (78:17, Jason)

• Box Office Stats: The financial performance is contextualized—solid but nowhere near the blockbusters of its year.

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Notable Quotes & Memorable Moments (with Timestamps)

• On Van Damme’s Accent in New Orleans:
  Jason: "A city in which his accent somehow works. The only place." (07:25)
• June on the Movie’s Quality:
  June: "God, but I love this movie. I don't. No notes. Really, It's." (06:43)
• On Henriksen Acting While on Fire:
  Paul: “Lance Henriksen caught fire during the movie, did not break character, and they left it all in the film.” (12:47)
• On “Daddy”:
  June: “It seems that no one ever taught him the word dad in English.” (09:28)
• On the Unfairness of the ‘Game’:
  June: “We just wish it were more evenly matched.” (45:16)
• On Birds as Woo’s Signature:
  Jason: “This is signature John Woo doves and pigeons.” (71:07)
• On Wilford Brimley’s Cajun Accent:
  Paul: “He’s made a choice and he's regretting it.” (67:07)
• On Excess Explosions:
  Jason: "I did love that in this movie, all bullets seemed to explode with the. To the level of a landmine every time they hit." (80:23)
• On Pigeon Chemistry:
  Jason: “When Jean Claude Van Damme winks at the pigeon on his shoulder...they have more chemistry than him and Nat.” (71:49)
• On the Villains Stealing the Show:
  Jason: "The franchise is built around the bad guys. Wouldn't that be cool?" (74:19)
• On Film’s Box Office:
  Paul: "It comes out the same year as Jurassic Park, Mrs. Doubtfire, the Fugitive. It came in 48th." (82:05)

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Highlighted Scenes & Timestamps

| Timestamp | Segment/Topic | |-----------|---------------------------------------------------| | 03:10 | Overview of "Hard Target" and its premise | | 06:19 | June’s praise for the film | | 08:45 | Discussion of Van Damme’s physique and slow-mo | | 12:47 | Lance Henriksen’s on-set fire story | | 17:56 | Plot holes: police union strike and empty city | | 20:43 | Unconvincing romance and “mouth issue” scenes | | 27:46 | John Woo’s arbitrary slow-motion sequences | | 31:51 | Guitar solo soundtrack and bayou realism | | 44:56 | Commentary on the movie's “Most Dangerous Game” plot | | 56:14 | The infamous snake-punching scene | | 62:55 | Motorcycle bridge stunt and stunt double sighting | | 65:38 | John Woo’s Star Wars-style swipe edits | | 66:18 | Wilford Brimley’s Cajun accent | | 71:07 | Audience Q&A and pigeon/dove signature | | 74:19 | Villain spinoff fantasy | | 78:17 | Five-star Amazon reviews | | 82:05 | Box office discussion and closing remarks |

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Tone & Language Notes

• Tone is raucous, irreverent, and affectionate, mixing detailed film analysis with unrestrained comedy.
• The trio’s chemistry is strong, with overlapping conversations, playful ribbing, and plenty of improv.
• The audience’s participation adds a level of chaos and New Orleans-specific flavor.

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Conclusion

For diehard HDTGM fans or curious newcomers who haven't seen "Hard Target," this episode delivers everything: hilarious observations, deep-dive movie logic debates, live show unpredictability, and a perfect blend of ridicule and celebration for a John Woo/Van Damme camp classic. Whether it's scrutinizing mullets, questioning snake physics, or deciphering Wilford Brimley's accent, the crew’s infectious passion makes for an essential listen (or read).

Transcript

[Paul Shear]

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[Jason Manzukas]

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This could have insane ramifications. Oh my God. Nirvana the Band to Show the Movie is being hailed as a miracle and absolutely what all our tax dollars should be for. Maybe we still got time for another plan. Only in theaters February 13th.

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[Jason Manzukas]

Big Paul and the beautiful Jewel gonna.

[Paul Shear]

Take you from the grove all the way to the room. Renegade the street fighter helps her blow off steam Just a sucker punch the odd life for Timmy brain sharp pandemic.

[Jason Manzukas]

How we staying alive they call it.

[Paul Shear]

When the badass and he's on the line cranking 88 minutes cause they cool as heights cause they bad Jim Barney looking kind tonight Paul is June getting litable? Jason is getting laid June is making sure all the monkey shots getting paid they just a bunch of movies while they making the grade Here's a real question for you. How did this get paid?

[Jason Manzukas]

Hello people of Earth and hello people people of New Orleans. We are live and we are back.

[Paul Shear]

On the road to celebrate the 1993. Jean Claude Van Damme classic about the most dangerous game hunting man. That's right. Tonight we will be talking about Lance Henriksen as Emile Fouchon, a man who hunts homeless people. And Jean Claude Van Damme, who just kind of falls backwards into figuring out what's going on, all for $100 a day. It's John Woo's first English language film.

[Jason Manzukas]

And from.

[Paul Shear]

From what I can tell, I did watch it closely. It's the first time you don't see Jean Claude Van Damme's ass, but you see boo. Indeed. Indeed. But if mullets were asses, we see a lot of ass. And that's all we're here to do. Talk about mullets. I can't wait, wait to talk to you about this movie. I can't wait to just talk to you about Wilford Brimley. When a movie can surprise you at hour, hour and 27 minutes in, I'm like, whoa, there is so much going on here. But I can't break it down alone. I need to break it down with my two co hosts. Fresh out of the house, out of quarantine. Please welcome Jason Man Zukas.

[Jason Manzukas]

What's up, jerks? How are we doing, New Orleans? And while there's not a balcony, there is a balcony. Balcony esque area. So give it up for the balcony monsters. These motherfuckers. Everybody's topless.

[Paul Shear]

They are just. They have just been living on frozen daiquiris for a year.

[Jason Manzukas]

Yeah.

[Paul Shear]

So they're ready to go.

[Jason Manzukas]

These people are sloppy. This city is sloppy. I don't mind saying it. Look at this woman in the front row is like, yes. We're so sloppy. You get me.

[Paul Shear]

I am just excited to be in air conditioning, so. And now, help me bring to the stage my other co host, Ms. June Diane Rayfield. How are you, June?

[June Diane Raphael]

I'm doing well. How are you, Paul?

[Paul Shear]

I'm doing fine. Thank you for asking. Hard target. June, thoughts?

[June Diane Raphael]

Okay. I. I don't know why we're doing this movie on this podcast and not unspooled.

[Paul Shear]

Unspooled Club.

[June Diane Raphael]

I laugh.

[Jason Manzukas]

I have an answer for you, June. It's because we don't do unskilled.

[June Diane Raphael]

Well, I know we don't. We've never been asked.

[Paul Shear]

It's a very long list.

[June Diane Raphael]

We've never been asked.

[Jason Manzukas]

We were on the banned unspooled list.

[June Diane Raphael]

God, but I love this movie. I don't. No notes. Really, It's.

[Jason Manzukas]

Except give me more.

[June Diane Raphael]

Exactly. It flew by. And Paul, you really prepped me and I Don't know if you were doing a practical joke, but you really warned me. It's gonna be an hour and 40 minutes. It's gonna feel like two.

[Paul Shear]

I just wanted you to be prepared. I don't know where you fall sometimes. You don't like a John Woo movie, but maybe you do.

[June Diane Raphael]

I like this John Woo movie.

[Paul Shear]

All right. Wow.

[Jason Manzukas]

And by the way, sure do. JCVD perhaps. Never better.

[June Diane Raphael]

Never better.

[Paul Shear]

Never better.

[Jason Manzukas]

And a city in which his accent somehow works. The only place.

[Paul Shear]

The only place all the French Belgian people here in New Orleans know.

[Jason Manzukas]

I was like. I was like, I buy it. He fits here.

[June Diane Raphael]

Also.

[Jason Manzukas]

Also, two things.

[June Diane Raphael]

Yeah.

[Jason Manzukas]

All of Act 3, he has no lines.

[June Diane Raphael]

No problem.

[Jason Manzukas]

This movie, shockingly, no buns.

[June Diane Raphael]

That's what I was saying.

[Jason Manzukas]

This is a bunless Jean Claude Van Damme movie.

[June Diane Raphael]

Also, it takes a really long time for him to strip down into that tank top.

[Paul Shear]

You're right. When he finally takes off that billowy.

[Jason Manzukas]

Like, shirt wash denim shirt, it's like.

[Paul Shear]

A parachute that has been attached to his body. I can't get any reed on his body the entire time because he, like, between the hair, he feels like he is constantly in some. He's almost like a Mardi Gras look.

[Jason Manzukas]

He's also wearing a duster. He's wearing, like a duster for the first act. In the second act, he's wearing the shirt. The. The billowy shirt, the billowy pants, and.

[June Diane Raphael]

Then always a belt.

[Jason Manzukas]

The last five minutes that he comes down to and the camera drinks in his.

[June Diane Raphael]

Well, we've been waiting for it. We've been waiting for it.

[Jason Manzukas]

Maybe John Woo's best movie for his aggressive, slow mo is just Jean Claude Van Damme's body.

[June Diane Raphael]

Listen, I'll tell you, Jean Claude Van Damme's work in this movie is the. Like you said, Jason, the best work he's ever done. There's nothing better. He's restrained.

[Paul Shear]

Well, I think all of his performances are restrained because it feels to me like his grasp on the English language is slight. And I don't say that in a derogatory way.

[Jason Manzukas]

Wow. I just want to. Paul, you are making an careful.

[Paul Shear]

Love him. Love him. But I don't. I don't think of him as a broad performer.

[Jason Manzukas]

Is he here?

[June Diane Raphael]

I do agree with you.

[Paul Shear]

He's not broad.

[June Diane Raphael]

It seems that no one ever taught him the word dad in English.

[Jason Manzukas]

Oh.

[June Diane Raphael]

Cause he loves saying, daddy, I'm helping.

[Jason Manzukas]

Her look for her daddy. I'm going to help you find your daddy. But him saying the word time I.

[June Diane Raphael]

Was like, ooh, it's so uncomfortable.

[Paul Shear]

Why it's so weird is because they're saying, like, her father was killed. And he's like, we found your daddy. Like, well, hold on now. Let's just. We were talking about a dead man. We can't call the dead man.

[Jason Manzukas]

It would make sense if. If Natalie's character was 11.

[Paul Shear]

Sure.

[Jason Manzukas]

Yeah. No, it was. I was like, oh, this movie again. Because they don't try and saddle him with a ordinary man job or a regular Joe kind of in the other movies. He's like a firefighter. He's like a guy in the world who has to interact with real people. He's just like a vigilante, essentially.

[Paul Shear]

He's just a poor person. I mean, that's. This movie is about the rich hunting the poor against their knowledge. Really.

[Jason Manzukas]

I have a lot of issues.

[June Diane Raphael]

We're going to talk about the game of it all. Actually, it is the most dangerous game of all. And they don't want just any old, poor person. No, they want a poor person with a military background.

[Paul Shear]

But they're not going to give him a worthy competitor.

[Jason Manzukas]

But they don't give the competitor anything except five minutes.

[Paul Shear]

Five minutes.

[Jason Manzukas]

You'd be like, what are you going to do? Like, give him a gun?

[Paul Shear]

Give him.

[June Diane Raphael]

And I. What I kept on wanting to say is, like, you all have cars. You have a fleet. Like, this is not mad.

[Jason Manzukas]

They have like. They're like a. Literally a hunting party, except their dogs are guys on motorcycles. And they have like. Mr. Pick is like the head of the thing.

[Paul Shear]

And by the way, Mr. Pick, the mummy from the Mummy.

[Jason Manzukas]

Oh.

[Paul Shear]

Oh, I love him.

[Jason Manzukas]

Place him. But God damn, if Lance Hendrickson isn't just, oh, what a performance. What a performance in this movie.

[June Diane Raphael]

Amazing.

[Paul Shear]

Lance Hendrickson is now, I think, my favorite. How did this get made actor? Not because he's bad, is because no matter what movie, he is amazing.

[Jason Manzukas]

He also fun. Because I also recently watched Aliens and he is at the right. He understands every time what movie he's in.

[Paul Shear]

Yes.

[Jason Manzukas]

And adjusts accordingly. You know, like here, he's like, oh, got it. This is enormous and preposterous. I can do that. And in Aliens, he's like, what's going on? Okay, I can do that.

[June Diane Raphael]

He's so understated.

[Paul Shear]

He literally was a fan of John Woo and was like, put me in your movie. John Woo did. And he said the only note he ever got from John Woo, he said, how do you want me to play my character? And he goes, you hunt the weak Got it. Never took another note. And by the way, amazing.

[Jason Manzukas]

Unnecessary because he crushes. He's so good in this.

[June Diane Raphael]

He's incredible.

[Paul Shear]

He is so great. I want to talk about one thing. I know I'm bringing up early, but there's a moment in this movie and we won't get to the end. But I just want to talk about Lance, where he is on fire.

[Jason Manzukas]

Yeah.

[Paul Shear]

Here's the thing that wasn't supposed to happen.

[Jason Manzukas]

Whoa.

[Paul Shear]

Lance Henriksen caught fire during the movie, did not break character, and they left it all in the film. His jacket caught fire and he's like, fuck it, we're going. And that's why he looks like he did have some, like, sort of gel on him, so he wouldn't, like, fully ignite. That was not supposed to happen. And John Woo's like, yeah, he didn't break character, so he left it all in. And that.

[June Diane Raphael]

I mean, someone should have yelled cut.

[Paul Shear]

That's why he says, what do you guys. Because the other actors. If you watch that scene again, and we don't have it, but if you watch that scene again, he says, the other actors, like, go, get out of here. This is why you're paying money. Because the other actors were in shock. They're like, the fuck is going on? The lead actor of this movie is on fire, and he's. And he, like, gave them an exit. Like, go, get out of here. Ticks off the jackpot.

[Jason Manzukas]

It was the same thing on Aliens. He wasn't supposed to get ripped in half, and he just got ripped in half. And he was like, let's roll on it. I'll. I'll force my blood to be a milky, viscous substance, and we'll just do it.

[Paul Shear]

This is the one thing I wanted to talk to you both about. The movie opens up in. I mean, it opens up in the French Quarter and no one is on the street. The only time I've seen that is at 8am in the morning.

[Jason Manzukas]

The whole movie? The whole movie. The streets of New Orleans are empty, which is legitimately impossible because there is always either a waste of person or a corpse somewhere on these streets. I've never seen.

[Paul Shear]

No, though.

[June Diane Raphael]

Well, wait a second, Paul. When the police go on strike, everyone goes home, Right?

[Paul Shear]

I forgot the police were on strike. Yeah.

[Jason Manzukas]

Really? The police.

[June Diane Raphael]

So interesting.

[Jason Manzukas]

Once our detective gets murdered, the police are nowhere to be found.

[June Diane Raphael]

Well, even before then, they're pro. I was obsessed with the detective. I thought she was amazing. I was actually really obsessed. She was murdered so early on. But this is where John Woo. I think he, he's fantastic. Giving her that little moment of blowing out the birthday candle.

[Paul Shear]

Yeah, Genius.

[Jason Manzukas]

Funny though, that she first puts it lit in a desk.

[June Diane Raphael]

Hilarious.

[Paul Shear]

And I was like, oh, they're never gonna come back to that.

[Jason Manzukas]

I was like, but what was also.

[June Diane Raphael]

Like, we never get to understand. Cause it looks like her entire force is protesting and on strike outside except for her. And we don't really understand her position on this union battle that they're in.

[Jason Manzukas]

Without cops, the city stops, baby.

[June Diane Raphael]

Well, right. But I guess she's like, no, we should be defunded. Like we.

[Jason Manzukas]

Without cops, maybe things would be better. Yeah, exactly.

[June Diane Raphael]

I agree.

[Jason Manzukas]

Maybe things would be better.

[Paul Shear]

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[Jason Manzukas]

And here also, apparently, an upcoming Mickey Rourke movie.

[Paul Shear]

Well, I mean, they've done this version of, like, let's hunt humans, but this one, it feels like they really didn't let the humans in on it, or at least what we've seen. And I love the guy who's like, my thing is arrows. I want to hunt with arrows.

[Jason Manzukas]

And I thought from a rifle, arrows were being shot out of a rifle barrel.

[Paul Shear]

The poster of this movie, the arrow plays like, all right. Oh, he's gonna be hunted by the arrow guy. That arrow guy is like a side. I mean, not even a side character.

[June Diane Raphael]

Can I confess something? I thought that that customer was Steven Seagal for a long time.

[Jason Manzukas]

By the way, can I say something?

[Paul Shear]

Yeah.

[Jason Manzukas]

I watched most of Hard Target last night. Okay.

[Paul Shear]

Yeah.

[Jason Manzukas]

I finished it today so it would be fresh. I turned it off. I turned on the TV in my hotel room playing Steven Seagal's Under Siege. And I was like, yes. And I'm now gonna say, we must.

[Paul Shear]

We gotta do Scott we must.

[Jason Manzukas]

When we play a live show on a naval vessel, we are gonna do Steven Seagal's Under Siege.

[Paul Shear]

That's the best one.

[Jason Manzukas]

I mean, Tommy Lee Jones, Gary Busey, it's next level.

[Paul Shear]

And when we play our next train show, we'll play Under Siege two with Eric Bogosian as the bad guy.

[June Diane Raphael]

So let's just go back for a second to the love story between Yancy and Jean Claude, because I was also expecting it and I felt like, oh, wow, they bailed on it because of her mouth situation and because the mouth situation was tough because it was there in some scenes and it wasn't there in others.

[Paul Shear]

That's the way herpes works sometimes. It's there sometimes.

[June Diane Raphael]

But what's really confusing is, like, well, they were probably shooting the movie out of order. So it really does seem to come and go. You know, it's there and then it's not there. But I'm like, oh, he must New Orleans. That's true, that's true. But I was like, I guess Jean Claude, like, just didn't want to make out with her. Which I understand that the cheek kiss.

[Jason Manzukas]

Now makes way more sense because it looks like he's going in for a make out and instead he goes to the side and gives her a cheek.

[Paul Shear]

But by the way, the cheek kiss is after his friend died, she's like, let me kiss him. Like, it wasn't the right time. This movie didn't really understand. Like, it's like, oh, your friend just died. Give me those lips. Give me those big old Belgian lips or nips lips.

[Jason Manzukas]

Okay. I mean, give me those Nips works in New Orleans too. Somebody just gave us these things.

[Paul Shear]

By the way, I will say this just before we get off the cop for too long. They do hold on her blowing out the candle for way too long. Like, it's like some sort of Eddie Murphy movie where it's like, I wish that I run out of words like. And I was thinking, is this movie about, like, a cop who's like, I wish I got a great case. And then that was like. Because they really hold on the wish.

[Jason Manzukas]

Do you think that this movie's plot is her birthday wish?

[Paul Shear]

Yes. Yes.

[June Diane Raphael]

Wow.

[Jason Manzukas]

She's like, the department's on strike, I'm at work. I hope I get a good case. She should.

[June Diane Raphael]

Or honestly survive.

[Jason Manzukas]

Yes.

[June Diane Raphael]

Or maybe she did want it to be her last year on earth.

[Jason Manzukas]

By the way, she got people over there.

[Paul Shear]

Yeah. By the way she gets shot seemingly. She gets shot in the arm and he's like, leave her, she's dead. I'm like, really? Really? You're like, he cut bait on her hard so quick.

[Jason Manzukas]

I thought, she's dead. I thought for sure she was going to come back. Me too, in the third act, having survived that. But once Wilfred Brinley showed up, I Was like, oh, no, it's him. Now he's taking the place of, like, the third.

[June Diane Raphael]

I know. It was just shocking because I don't think they expected that actress to be so good. Good and watchable. It's like, oh, we really did care about her. And she's been left dead on this.

[Paul Shear]

Yes.

[Jason Manzukas]

She and Jean Claude Van Damme had a good chemistry. Like, we're partners in solving a crime. Natalie is just along for the ride.

[June Diane Raphael]

Yes.

[Jason Manzukas]

Like, it would have been smarter to.

[June Diane Raphael]

Pair them up a thousand percent. And at a certain point, I was like, why are you still here, Nat? Like, I wrote that. What's up?

[Jason Manzukas]

Why is Natalie still here?

[June Diane Raphael]

Your daddy is Daddy's dead. Daddy's dead.

[Paul Shear]

She's got a.

[Jason Manzukas]

Your daddy is daddy. Now I will say your daddy is daddy.

[Paul Shear]

I will say the sex scenes between Emile Fouchon and Pic, that is Lance Henderson and Arnold Visalu were great. Those are really great. Their relationship. I love, like, they do it in Lethal Weapon too, where they just call someone by their last name. They're like, what do you think Mr. Fouchon get? Like, I love, like, it's like, it's the best bad guy way to refer to somebody by their Mr. So and so. Like, you know.

[Jason Manzukas]

Yes.

[Paul Shear]

I loved it.

[Jason Manzukas]

I loved all the bad. Again, all the bad guys knew exactly what movie they were in, and they did the right thing by minimizing Van Damme's dialogue so that he's just a kicking, punching, shooting machine. No quips, no dialogue. No. He doesn't have to carry exposition beyond the first act when he has to interact with the. The tough at the. At the diner.

[Paul Shear]

Yeah.

[Jason Manzukas]

And that stuff. Beyond that, he really has basically no lines, which is.

[June Diane Raphael]

Wow. I guess that's right.

[Jason Manzukas]

I just would have wished they had thought to put his bare butt in it.

[Paul Shear]

That was. But. But what they do do. And I said this in the beginning.

[Jason Manzukas]

Of the show, but what they do.

[Paul Shear]

But what they do do is give him the best mullet of all time.

[Jason Manzukas]

And I want to pull up his introduction scene. His introduction scene in the diner where they're focusing on the mullet, the eyes, the earring, before they give you a full shot of him. Next level.

[Paul Shear]

I mean, we have some clips of his mullet right here. These are some video, some stills of some mullet. Look, here we go. This is how we're introduced to the mullet from behind, by the way.

[Jason Manzukas]

I don't mind it at all so far.

[Paul Shear]

It looks wet. I thought it was Aquanet. It might be sweat. Then we get this.

[Jason Manzukas]

The humidity of gnarlins. He's like, I have a crawdad. Give me that craw, dad.

[Paul Shear]

If. If he had a.

[Jason Manzukas]

Down in the bayou, if he had.

[Paul Shear]

A mullet like this, Nollins, what would his mullet look like? Because I feel like it would frizz out. This is a. Like he would have like almost a full purse.

[Jason Manzukas]

I'll say this. My hair is thriving in this. Thriving.

[June Diane Raphael]

And it is.

[Jason Manzukas]

The humidity is gold for these girls. Are you kidding?

[Paul Shear]

Okay.

[Jason Manzukas]

Dynamite. Yeah, this looks sopping wet. But listen, he's just been in like a full on fighter.

[Paul Shear]

Wow.

[Jason Manzukas]

I got to start wearing my hair like that, I think.

[Paul Shear]

I mean, the way it caresses.

[Jason Manzukas]

Had it really been bold, I would have styled my hair like that for the show.

[June Diane Raphael]

It was so interesting. Is at one point I was like, is there hair up there or is it all just back there is hair up there. But it's so the entire movie. I mean, at one point he's standing on top of a motorcycle.

[Paul Shear]

Yeah.

[Jason Manzukas]

He's a stone cold hunk, by the way. Is gorgeous, by the way.

[June Diane Raphael]

By the way. That's the other thing that I was worried about. Paul with Yancey was. I don't know if he felt threatened by her hair. See, this is a point, you know.

[Paul Shear]

Yeah.

[June Diane Raphael]

Because.

[Jason Manzukas]

This. This scene we could talk about for the rest of the night.

[Paul Shear]

I want to get into the snake biting thing, but I want to talk about the hair for one more second because I'm realizing that Lance Hendrickson has done two movies in which he has played the bad guy with mulleted men. And that is stone Cold. And this.

[Jason Manzukas]

Two very different mullets, but also two very different men.

[Paul Shear]

I mean, like. I mean, he's anti mullet. I guess Lance is the mullet killer. Or they. They are.

[Jason Manzukas]

I mean, I wonder if there's a third that we. That we might. If there's a third that we need to find and do we need to.

[Paul Shear]

Because that is complete the trilogy.

[Jason Manzukas]

Yeah, the complete. The Lance Hendrickson versus Mulleted Man.

[Paul Shear]

I guess you could make a point that Sigourney Weaver kind of has a curly mullet. So that would be alien.

[Jason Manzukas]

But he's not against her.

[Paul Shear]

Oh, I guess you're right. Alien 3. Is he against her? I don't know. Again, I lost.

[Jason Manzukas]

I can't express to everybody here how much jcvd's look is accentuated and like, like worshiped by John Woo's slow mo. You know, like it fetishizes him in a way that is so impactful for the movie how they'll go to slow mo arbitrarily, just in any way, for any motion.

[Paul Shear]

Paying for gumbo.

[June Diane Raphael]

It's true. There were many times. There were many times I was like, oh, we're in slow mo. Like, June, look alive. And I'd watch the scene and then I'd think, huh. I don't know why we. I don't know what I was. I don't know why we weren't slow moving for that.

[Paul Shear]

Because John Woo is primarily known for like, gun action. And Jean Claude Van Damme is known for like, fan thigh and leg action. And so what I did, like, was the bridging of the gap, which is he like pulls. He pulls back his trench coat like a cowboy would reveal a six shooter just to reveal his upper thigh.

[June Diane Raphael]

That was. That was amazing, you guys. That was amazing. That was amazing.

[Jason Manzukas]

Because there are a lot of, like, there are a lot of western tropes inside of this. Like, you know, and it's great and I love it. But that's a perfect one because what he's showing off and showcasing isn't his gun. He's like, when you're ready to go, my leg's ready. My leg's ready for kicking my leg. Wonderful.

[June Diane Raphael]

Locked and loaded takes.

[Paul Shear]

At one point, I feel like somebody else's leg, he takes the head of somebody. Like, he doesn't even use his own body to beat up two guys. Like, he just holds one guy's head and slams it into another guy's leg. I feel like there's like a moment.

[Jason Manzukas]

There are so many scenes where. Where Jean Claude Van Damme kicks and punches men in helmets that are meant to survive high impact accidents. And that would. One man is coming at him on a motorcycle at like, I don't know, 25, 30 miles an hour. John Claude Van Damme is like qua bam. And takes the guy out helmet style. John Claude Van Damme's shin or whatever would have disintegrated.

[Paul Shear]

He.

[Jason Manzukas]

At that speed, coming at him, he would have been like kablam. And his. His entire leg would have been like dust.

[June Diane Raphael]

Yeah, well, that's.

[Jason Manzukas]

He does that at least 10 times in the movie.

[June Diane Raphael]

Yeah. And that's what's interesting about the movie is like, we're showcasing different types of weapons. You know, rifles that have arrows in them, actual bow and arrows, guns, machine guns and grenades. And jcbd's thighs.

[Jason Manzukas]

Yes.

[June Diane Raphael]

Like, it's. They're really set up as thighs.

[Jason Manzukas]

JCBD is also. He. He can wield a shotgun. He can Wield a handgun upside down. Bam, bam, bam, bam, bam, bam, bam, bam. I was like, you can't aim this way.

[June Diane Raphael]

No way.

[Paul Shear]

I felt like there was a point in this movie where John Woo gave up and said, fuck it, we're going to guns again. Like, he was like, we did your legs. Let's go do what I'm good at. Like, I got you the two shots with your legs. Let's go guns. Because there are some great gun fights in here. And it is odd because you don't really see JCVD working with guns. I will say this throughout watching this, and I know jcvd and he's an attractive man.

[Jason Manzukas]

You said you know him well.

[Paul Shear]

No, I don't know him well. No.

[Jason Manzukas]

Wait, are you best friends with jcvd?

[Paul Shear]

I would ask your daddy.

[Jason Manzukas]

I just am at the point in my notes where I wrote all caps, he keeps using the word daddy.

[Paul Shear]

Don't use daddy.

[June Diane Raphael]

But listen, what I wanted to discuss was Yancey's fashions, because they were really scratching an itch to me. Like, I haven't seen white tights. And, like, seeing white tights and a French braid just really. And like a coach bag, brown coach bag, for me, it really scratched an itch.

[Jason Manzukas]

I also love inside of a lot of the moments of importance, a lot of the moments of, like, fight explosions and little montages and stuff. This movie has one of my favorite tropes that we find in our movies, which is searing electric guitar solos over the action. So it's like once that fight outside the diner starts, it's like. But it's got, like, a real bayou vibe here.

[June Diane Raphael]

No, speaking of the bayou.

[Jason Manzukas]

Yeah, speaking of.

[June Diane Raphael]

Yeah, speaking of the bayou.

[Jason Manzukas]

No gators in this movie.

[June Diane Raphael]

No gators, which I was shocked by. I don't know horses to live in the bayou, but I don't know that they don't also.

[Paul Shear]

So that could be a lot of bayou horses.

[Jason Manzukas]

There are horses in the bayou.

[June Diane Raphael]

Great. But I'm also like, the fact that we just accept the information that JCVD grew up in the bayou.

[Jason Manzukas]

I couldn't tell if that was the case, but my assumption is yes.

[June Diane Raphael]

No. But he says that.

[Jason Manzukas]

I mean, Wilfred Brinley is his uncle. Or just does he refer to him.

[June Diane Raphael]

Uncle and he was raised in the bayou.

[Paul Shear]

This is lance Hendrickson explaining JCVD's background. Silver Star, Marine Force Recon.

[Jason Manzukas]

He joined the Merchants Service. After he got out, his captain was smuggling this hose. Incredible. When DRO found out, he threw the man overboard. He's been looking for work ever since.

[Paul Shear]

He's Obviously not someone we should underestimate.

[Jason Manzukas]

He was raised in the bayou by his uncle. I think Mr. Boudro would make a very interesting quarry. Maybe I should pay him a visit. No, no, no, no, no.

[Paul Shear]

Send a couple of lads down there to have a chat with him. Won't you? Pick? Yeah. I love this movie.

[Jason Manzukas]

So good.

[June Diane Raphael]

Perfect.

[Paul Shear]

I love that they're on two couches having this conversation.

[Jason Manzukas]

They're not looking at each other. John Woo's framing it so you see both of their faces and they're not looking at each other, which is actually so smart because they're great.

[Paul Shear]

And they're just talking about this man. How did he get this information? They grew up with his uncle. How would that be on file? How would they get that so quickly? Why is JCVD on the second porch balcony reading a coroner's report, standing? It seems uncomfortable to look through photos and read evidence when you can't put anything on a table.

[Jason Manzukas]

JCVD feels in this moment, in this. The way this movie cuts together, it's as if he's listening to them. He feels as though he. And late in the movie, JCVD has a series of flashbacks for scenes he was not in.

[Paul Shear]

Oh, okay.

[Jason Manzukas]

I don't think they do that a lot where he has information or knowledge that we, the audience, have, but he chance does not.

[Paul Shear]

By the way, it's like Spaceballs. When they pull up the movie of Spaceballs, like, he has access to hard target the movie. He's like, what happened? I need to find out before I do this next. Got it. Now, I will tell you this. Nate Kiley does all of our research for this, and he's amazing. So this movie, apparently, when delivered, was a Lance Henriksen movie. It was more focused on Lance Hendriksen.

[Jason Manzukas]

Like, it was like the guy who runs the hunt and blah, blah, blah.

[Paul Shear]

And JCVD was like, oh, the thorn in my side. And JCVD saw it and was like, the fuck? I'm jcvd. And he recut the movie to cut Lance down and out or to a smaller role. But I do love that John Woo signed on and was like, you're in the JCVD business. I'm in the Lance Henriksen business.

[June Diane Raphael]

Yeah.

[Paul Shear]

And what got released. It's kind of a nice mix because he does carry himself like a lead.

[June Diane Raphael]

He really does.

[Jason Manzukas]

Yeah. And he's the more compelling. It's the more compelling performance.

[June Diane Raphael]

Here's where. When I first was introduced to his character, I was like, he's so fascinating to watch. But it's also like, at the end of the day. He is a bad guy, but he's also an entrepreneur.

[Jason Manzukas]

Yes.

[June Diane Raphael]

And he is doing that.

[Jason Manzukas]

He sees a hole in the market.

[June Diane Raphael]

Yes. And he sees the white space and he goes to fill it. And I'm like, okay, so. And then as to disrupt him really. He really is. He is.

[Jason Manzukas]

He's a hunting disruptor. Most people are out here hunting animals. He's like, what? Check me.

[Paul Shear]

And then he started wework.

[June Diane Raphael]

But then at the end he's also like creating this fire sale special for all of the past customers to come in.

[Paul Shear]

But he's charging them like he got into some shit. He's like, you know, you have to pay for this. Like he made them pay. It was great.

[Jason Manzukas]

The whole third act JCVD kills conservatively. Four dozen bad guys. Lance Hendrickson seems to have unlimited bad guys on retainer, all of whom have wild outfits on.

[June Diane Raphael]

And that's honestly. I wish we could get Marcus Lemonis on this show from. You want to sell the hunt from the profit on. On msnbc because how much of a margin is he making?

[Paul Shear]

He was like, he's paying off the corner. He's paying pick. He tries playing the two motorcycle guys.

[June Diane Raphael]

All of those dogs, all of the heavies must be making.

[Jason Manzukas]

He's also having to every once in a while pick up his entire operation and move it to a different country, which absolutely cutting into his.

[June Diane Raphael]

Especially if you're taking all those guys. That's food. That's per diem.

[Jason Manzukas]

That's where Marcus Lemonis could come in. He could hook them up with simply Greek. He could hook them up with his sports store for all their weapons.

[Paul Shear]

Guys, guys. What you're not realizing is this. The way he cuts the overhead is by shooting them in the face. That's the way he makes back his money.

[Jason Manzukas]

His gun is a pistol. It's a musket that shoots. What's the some one of these dummies knows that we're in the south. There's a gun not here. What? What is he shooting? It's not a shotgun. That's what I wrote too. But those aren't shotgun.

[Paul Shear]

It's like a musket, right?

[Jason Manzukas]

It's not a musket. A pistol that shoots. What? So one of you raise your hand or I will come.

[Paul Shear]

All right, I see somebody there. Hold on, hold on. I got this person. I'm going to give it to you right there. Yes.

[Jason Manzukas]

It's a. It's a contender pistol. It's a single shot, break barrel pistol pistol. They sold them in a number of.

[Paul Shear]

Calibers but that one in particular is.

[Jason Manzukas]

A 4570, of course. Giant round they used to use to hunt buffalo. It goes back to like the 1850s. It's a massive bullet. This guy's our gun guy.

[Paul Shear]

Thank you for showing me that gentleman.

[Jason Manzukas]

Back there what I and what I thought about. It's interesting you say that cuz what I thought about that and I wrote it in my notes is this gun could have been a contender.

[Paul Shear]

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[Jason Manzukas]

I don't know how they do it.

[Paul Shear]

I mean, I do know how they do it. They're going to high altitude farms. They're giving me flowers that last a long time. I'm talking about flowers that I get a thank you for when I give them. And then a week later, like, you know, they still look good and yeah, that's right. 1-800-Flowers.com is out there saving my ass. So don't wait until it's too late to get your double blooms offer. Buy one dozen, get two dozen roses free. Go to 1-800-Flowers.com. bonkers right now. That's 1-800-Flowers. Com bonkers to double your roses for free. You know, one in five Americans have learn a new language on their bucket list. If that's you, make 2025 the year you finally check it off with Babbel, the language app that makes grammar fun and actually worth your time. I am in day 130 of working on Babbel. I love it. Why? Because I can practice real life conversation step by step without the stress. I build confidence to speak when it matters. From ordering a coffee to chatting with new friends abroad, I have found my learning on Babbel to be so much fun. You are learning tons of words but they're coming so naturally. Babbel has been truly a game changer. Something that I've always put off and now I am a firm believer in. Here's a special limited time deal for our listeners right now get up to 55% off your Babel subscription at babel.com bonkers get up to 55% off at babbel.com bonkers spelled B A B B E L.com bonkers rules and restrictions may apply. Hey, guys. Joel Kim, Booster here with a very exciting announcement that I am the newest host of the podcast Bad Dates. I am so excited to be here and sharing all the wildest, most chaotic and iconic bad date stories with you. I'll be joined by friends like Peppermint Scott Thompson, Casey Wilson, Ron Funches, and MJ Rodriguez, and we'll hear all about their most notorious bad dates. It'll make you laugh, cry, cringe, and maybe make you feel a little better about your own dating life. You don't want to miss it. Listen to Bad Dates by subscribing to Sirius XM Podcast plus on Apple Podcasts or listening wherever you get your podcasts. Can I just show my favorite scene in the movie? Because again, I talked about what makes a great bad guy. We have a moment where Lance Hendrickson is calling Pick by his last name. This is the scene that brought it home.

[Jason Manzukas]

And his pick's last name, Van Cleef.

[Paul Shear]

I believe his name is Pick Van Cleef.

[Jason Manzukas]

And that is. This movie is constantly referencing. John Woo is constantly referencing Once Upon a Time in the West.

[Paul Shear]

Yes.

[Jason Manzukas]

He's doing, like, the close up of the eyes, like the Henry Ford shot.

[Paul Shear]

He's constantly closed up on the mullet call back.

[Jason Manzukas]

Yeah, exactly. He's doing callbacks to. To that movie. And Lee Van Cleef is in that movie.

[Paul Shear]

Yes. So this is the scene. Forget the fact that they're talking about. Don't contact us on telex. I don't know what the fuck telex is. I understand that. Yes. You shouldn't probably talk about hunting a human on a fax machine, but watching Lance Henriksen play a piano like he's hard fucking.

[Jason Manzukas]

Yeah. And then the best part of it is when it cuts back to him and he turns around to tell the guy, hey, are you ready to hunt a human being? The piano is closed, the keyboard is closed, the COVID is over the keys.

[Paul Shear]

I was like, okay, he was done. Here. Take a look at. You can even hear it in the way he plays. You'll deposit $500,000 in our account in a bank in the Cayman Islands. Do not refer to our agreement by telex or in conversations on the phone. You'll be provided with a guide.

[Jason Manzukas]

So angry weapon of your choice. Naturally, we will dispose of the body and provide you with an out of town airtight alibi. Don't worry, Mr. Zanan.

[Paul Shear]

All you have to do is point and shoot.

[Jason Manzukas]

Keyboard open.

[Paul Shear]

Oh.

[Jason Manzukas]

Then it reverses and it's closed anyway.

[Paul Shear]

But he is looking at himself in the mirror while playing a piano and he's not looking at the keys. It is like Bishop from Alien doing that knife game. Like.

[Jason Manzukas]

It is him fucking yo.

[Paul Shear]

Yeah.

[Jason Manzukas]

It's like this is a sex scene for him.

[June Diane Raphael]

Yeah.

[Jason Manzukas]

Where he's just like, I'm not even going to look at you. I'm going to jump. Doing my thing. Yeah.

[June Diane Raphael]

This is the only sex scene in the movie.

[Paul Shear]

Yes. And it's the best sex scene I've ever seen.

[Jason Manzukas]

Oh, that's why. Yeah, that's why I had to finish it today. I came in this scene, fell asleep.

[June Diane Raphael]

I know.

[Jason Manzukas]

And had to get up today and be like, I guess I got to watch the rest of them.

[June Diane Raphael]

Yeah, I mean our kids are traveling with us right now. And I was like, guys don't get come in. Not right now.

[Paul Shear]

I have to say this, there is. I just want to talk about the game, the Most Dangerous Game. Because I guess what I really find odd about this movie is it's so one sided. Like, it's like, hey, do you want me to put a puppy in front of you and give you a shotgun? At one point a guy almost starts aiming at the game before the game even stars. Like, hey, hey, put the gun down, buddy.

[Jason Manzukas]

I love that. That guy is like, he looks like a dentist from Cleveland and he's wearing just like a regular trench coat and but has like a super high tech gun. It's like, yeah, they're off. It's not just people who were like like trained for this. They just seem to have the money and are like, oh, give it and I'll shoot a guy.

[June Diane Raphael]

Well, it also seems like we're all okay with hunting a human's hunting other humans. We just wish it were more evenly matched.

[Jason Manzukas]

Yeah, I guess I'm years away from this being a reality.

[Paul Shear]

I mean in my mind. I guess like the thought would be like, wouldn't it be fun? No, not for me. But wouldn't it like, wouldn't the thing be like, oh, you actually have to track this person. You have to do it. It's like they really just like. I guess maybe that's what.

[June Diane Raphael]

No, I think you're right.

[Jason Manzukas]

Get the dogs, animals into an area.

[Paul Shear]

Where it's flush them out.

[June Diane Raphael]

But I think what you're saying though is true, which is it should Be that they are marketing this to skilled hunters. And that doesn't seem to be the case. It seems that they are just trying to sell this to people who want to kill people. It's like, that is different.

[Paul Shear]

Like, there's a hunter.

[Jason Manzukas]

They're marked. Yes. They are marketing this to people who, like, want the thrill of ending a human life, not who want the challenge of hunting the most dangerous.

[Paul Shear]

And when you see the weapons, you're like, why do they have such good weapons but are such bad hunters? Like, there's one hunter who is dressed in, like, striped, like, Zubaz pants from the Super bowl in 1986, and he's hunting while smoking a cigar, which is a surefire way of. Like, they're hunting a human. They can smell that cigar. Like, that's not. Like, that's not going to be good for stealth.

[Jason Manzukas]

They're also. And this really. I cannot overstate this enough. They are doing it in the city of New Orleans. They're not. They're hunting their hunting party. Cars. I mean, Lance Hendrickson is in a convertible. The other guys are in a truck. The dogs are on motorcycles. And they're not, like, out in the bayou. They're not out in the car country. They're not chasing people through the bogs and marshes of this area. They are, like, on Bourbon street, midday, midday, midday, hunting, blowing people in. And I think the reason that the movie introduces the police strike is that it's lawless. The city is just law.

[Paul Shear]

But it also is, like. And no tourism. Like, literally, there's no one on these streets. When they kill that guy, like, didn't you forget to say goodbye to me? Boom. Blows his head off. And then, by the way, he goes to blow that guy's head off and brings, like, 12 people with him. Like, he had. These people are all about unfair advantages. It's like, I'm gonna just go blow a guy's head off. Can I get, like, 12 guys just to get my back on this one, just in case, Like. And that. That guy is my favorite guy. The guy that they karate chop in the belly, get him.

[June Diane Raphael]

Eat that.

[Paul Shear]

Fuck. Where.

[June Diane Raphael]

I'm obsessed with how he sleeps. I've never seen Big Time. Well, first of all, I'm like, is this an. Was that an afternoon nap, or was that because he's sleeping fully clothed with both arms up?

[Jason Manzukas]

Oh, he's starfishing that bed hard, for sure.

[June Diane Raphael]

But I do. I was fascinated by it because I'm like, oh, when I used to watch, like, our children sleep as babies, you know, lots of times they would put both arms up and it's. It's one of the most vulnerable positions you could find yourself in.

[Jason Manzukas]

I said the same sentence when I used to watch your children sleep when they were babies.

[June Diane Raphael]

But it was such an interesting character choice.

[Jason Manzukas]

Are you guys leaving?

[Paul Shear]

No, there's. The bar is open.

[Jason Manzukas]

Oh, okay.

[Paul Shear]

Oh, they're out. I love you. Whoa.

[Jason Manzukas]

They are leaving.

[Paul Shear]

No, they only gave them some.

[Jason Manzukas]

All right.

[Paul Shear]

There.

[Jason Manzukas]

We love you too.

[June Diane Raphael]

If two people come from the back.

[Paul Shear]

Two seats, yeah. Just opened up back row. Let's turn on the house side. Oh, wow.

[Jason Manzukas]

Wow. They really only. I totally understand that they have to go, and that's fine. We started a little late and. But you know what? I really appreciated that he loved us.

[June Diane Raphael]

And you know what?

[Jason Manzukas]

I'm willing to say I love you back.

[June Diane Raphael]

Thank you. Thank you for leaving with babysitters. I get it.

[Paul Shear]

Babysitters, dinner reservations, hour 45. We're out.

[Jason Manzukas]

These guys.

[June Diane Raphael]

Understood.

[Jason Manzukas]

Now your seat. Now. Those seats are open.

[Paul Shear]

Well, I will say this. That. That guy, they cut off his ear. They beat him up a lot. But I do want to talk about two things about that guy. First of all, one of the badass and weird moves to me was Lance Henriksen washing his hand in his fishbowl, which felt more unsanitary from Lance's side. Like. Like, I'll wash my hand in your fishbowl, you fat fuck.

[Jason Manzukas]

Like, leaves so much evidence at every crime scene. His blood is in the fishbowl at one point.

[June Diane Raphael]

Well, there's no police, Jason. You have to remember, they're on point.

[Jason Manzukas]

He takes the bullet casing out of his gun after he shoots a guy in the cemetery and just throws it.

[Paul Shear]

On the ground to make sure he touches it before. Yeah, he doesn't shake it out. The other thing that got me is the. This man who is constantly beat up by Lance Hendrickson. He runs. He basically gives people flyers to pass out for phone sex lines. But when the wide eyed girl finds it in her dad's, like, luggage, she's so shocked and I couldn't tell. Is she shocked that she thinks her dad is doing phone sex? Running a phone sex line?

[Jason Manzukas]

I think she's just shocked by the imagery and the. The craziness of it. So much so that someone has to say to her, Chance Boudreaux says to her, don't worry, he passed these out for money.

[Paul Shear]

This is not the one thought I had during this movie because they get lost in the bayou at one point and it's the most Manicured Bayou I've ever seen. Like, it is a full trailhead. And she's like, oh, my God, I can't walk anymore. I'm like, you're walking by, like, the Children's Museum of New Orleans here. Like, this is. This is a paved area. She's like, oh, oh, God, I can't stand the bayou. And I was like, wouldn't it be great if they were just wearing shorts? Like Jean Claude Van Damme in, like, short shorts, Like Magnum shorts would have been great. I would have liked it.

[Jason Manzukas]

I did love the.

[Paul Shear]

The.

[Jason Manzukas]

The undercurrent storyline, which is the homeless are fundamentally ignored.

[Paul Shear]

Yes.

[Jason Manzukas]

Like, the people of this city, the poor people of the city are constantly being victimized. And the homeless is especially. Especially when Elijah is being hunted and he's in the middle of. I'm going to say Bourbon street, but you know that area.

[Paul Shear]

He's in the French Quarter.

[Jason Manzukas]

He's in the French. Exactly. That's. I'm sorry, that's what I wasn't remembering. And he is there, and there's so many people, and he's just trying to get them to help, and they won't help him.

[Paul Shear]

Now, in Marini, that would happen, but not in the French Quarter.

[Jason Manzukas]

And then that scene is haunting times.

[June Diane Raphael]

That scene is absolutely haunting and so well done.

[Paul Shear]

It is a great scene. And you know who's in that scene? Sam Raimi.

[Jason Manzukas]

Oh, Sam Raimi's a producer on this movie.

[Paul Shear]

And I found out from Nate that the Universal Studios was so nervous about John Woo directing an English film that they made Sam Raimi stay on set every day just in case he fucked up.

[Jason Manzukas]

Oh, that's interesting. Well, yeah. Was this John Woo's first American movie?

[Paul Shear]

Yes. First English language film. So when I saw that, I tried to.

[Jason Manzukas]

Broken Arrow.

[Paul Shear]

Yeah. That we would do three Travolta.

[Jason Manzukas]

Christian Slater.

[Paul Shear]

Let's do it.

[Jason Manzukas]

Samantha Mathis.

[June Diane Raphael]

But love Samantha Mathis.

[Jason Manzukas]

Oh, pump up the volume, guys.

[Paul Shear]

One of the best.

[Jason Manzukas]

We'll never do it because it's flawless.

[Paul Shear]

It's great.

[June Diane Raphael]

Yeah. That's for unspooled, I guess. I guess that's Paul and Amy Will.

[Paul Shear]

But we could do.

[Jason Manzukas]

Talk to Paul Thomas Anderson about. Pump up the volume.

[Paul Shear]

Pt. PTA wants to do Cuffs.

[Jason Manzukas]

He wants to do Cuffs. Christian Slater's other movie where he's a police adjacent.

[Paul Shear]

A real deep cut. Again, we're cutting all of this. When his buddy gets shot in the French Quarter. It's in the mid. Everything's happening. It's like you said, it is a beautiful Shot. And no one seems to worry because Peck or Pick, like, just goes up to the bodies, like, what's going on here? Then just take this money.

[Jason Manzukas]

These guys are not phased at all by the fact that they've committed a murder in broad daylight in the French Quarter, where there's tourists everywhere. I'm assuming because the police are on strike. I guess Pick walks up with his Spyderco knife and he's like, that guy gets it and he's like, zip, get. Boop. Take the 10 grand. We're walking away. They are New Orleans in this movie. And even still today is dot, dot dot Lawless.

[June Diane Raphael]

I was really curious about the 10 grand belt. And just like, oh, that's interesting. Is that belt? I mean, Jason, you'll surely have something to say about this, but is that. Was it made for money? Like a little money belt belts?

[Jason Manzukas]

Or they call it a money belt. And there's such a thing as a money belt?

[June Diane Raphael]

Yeah, there's a money belt, but there.

[Jason Manzukas]

Are not money belts. There are belts that have tools in them built into the belt, but there's.

[June Diane Raphael]

Not a belt like that. Yeah, because this belt was. I was like, oh, it must be repurposed as a ten grand money belt. But there's no way you're making a manufacturer's making a belt that just has pouches all around it for money.

[Jason Manzukas]

What I think is that it's a belt. Yes, I think you're right. I don't think it is meant to be about a giant money gram, but I think it is something that has been made to hold to be a different things.

[Paul Shear]

Doesn't it? Doesn't Charles Grodin?

[Jason Manzukas]

Or it is because they made it so that it could hold that amount. Doesn't Charles Grodo sell it? Like, I don't think you could order it from Amazon, the 10.

[June Diane Raphael]

I mean, I'm curious.

[Paul Shear]

Well, you never know. Amazon Basics might have it as I.

[Jason Manzukas]

Will say that Travel does make a tote bag or a kit bag that holds $1 million in US currency.

[Paul Shear]

Wow, really? But wait, doesn't Charles Grodin and Midnight run have about $10,000 in his money belt?

[June Diane Raphael]

Yes.

[Paul Shear]

So there you go.

[Jason Manzukas]

It works money.

[Paul Shear]

No one questions it.

[Jason Manzukas]

Money belts can hold what? I mean, it's just a matter of the denominations. Yeah, if you have. Yeah, if you have enough high bills, you can fit more in it.

[Paul Shear]

It wasn't all single. Now, if it was singles, it would be. That would probably be New Orleans, a.

[Jason Manzukas]

City that runs on singles.

[Paul Shear]

But here's the thing.

[Jason Manzukas]

You're Disgusting.

[Paul Shear]

They're hunting. They're hunting through the bayou. And this is maybe where. I mean, there's so many things.

[June Diane Raphael]

When I say hunting, they're murdering through the bayou.

[Paul Shear]

And Jean Claude Van Damme fights a lot of people, but he also fights a fucking snake. Let's take a look at this moment where he fights a snake. This was to me. I did not know about this moment. And again, another jaw dropper. And this is after the motorcycle scene, which we haven't even talked about yet.

[Jason Manzukas]

It blew my mind. Especially because of the way he introduces it slowly by saying, close your eyes. You trust me?

[June Diane Raphael]

Of course I trust you.

[Jason Manzukas]

Close your eyes.

[June Diane Raphael]

Why do you want me to trust you with my eyes closed?

[Jason Manzukas]

Close your eyes. This whole time, the snake is right there. He knows it. They're taking their time. Big eyes. Is it dead?

[June Diane Raphael]

Paul, is there any way we can rewind? What are you doing?

[Paul Shear]

I'm leaving a surprise for my friends.

[Jason Manzukas]

This suggests. This suggests he's done this before.

[Paul Shear]

He ripped off the rattle part of the snake. Like ripping off a shrimp tail. It's like a crawfish fish. Like, I have a. I have a.

[Jason Manzukas]

Question for our gun guy, cuz I somehow feel like he'll know. Do you guys have rattlesnakes here? Okay, cool. Just making sure. Cuz we have them in la. I see them in. In California all the time, but it's a desert climate, so I was like, oh, is that. Is that. Yeah, go ahead.

[Paul Shear]

I'm less concerned about the rattlesnake and I'm more concerned about how he saw it. Because the way the rattlesnake is positioned is he's like, close your eyes. And I think the way that we would think is that it's coming down like this, but the snake is coming up her back like, peekaboo, Peekaboo. But it's like, where. What is it holding onto? It doesn't. A snake doesn't rise up like an elevator, like. And how would you see?

[Jason Manzukas]

I assumed it was in the tree above.

[June Diane Raphael]

I thought it was in the tree coming down.

[Jason Manzukas]

It was coming down like.

[Paul Shear]

But it's coming above. It's coming over her shoulder. It's coming above her shoulder.

[June Diane Raphael]

It's like, yeah, but they can do that.

[Jason Manzukas]

How?

[Paul Shear]

Where is their tail?

[Jason Manzukas]

Hold on. June, what do you know about rattlesnake?

[June Diane Raphael]

Well, I don't know a whole lot, but I feel like, isn't that the whole thing about snakes, that they're like one giant muscle, so they can kind of like contract?

[Jason Manzukas]

One giant muscle?

[Paul Shear]

Yeah, but it's got a balance on something.

[June Diane Raphael]

Yeah, I think there's a b. I think the bottom was on a branch somewhere. And then it sort of worked its way.

[Paul Shear]

But they're on land.

[Jason Manzukas]

What do you mean?

[June Diane Raphael]

They are, but I think there's trees behind them somewhere.

[Jason Manzukas]

I think it's coming out of the tree.

[Paul Shear]

Got it. Okay, there's a low lim branch.

[Jason Manzukas]

Is it tree snakes? What do you guys think? What? Hold on. This lady knows.

[Paul Shear]

Okay, okay. June is right. A snake is all muscle.

[Jason Manzukas]

Yes.

[Paul Shear]

Case closed.

[June Diane Raphael]

Yeah.

[Paul Shear]

Just like Nolan's Cops. No need to investigate further.

[June Diane Raphael]

She said. June's right.

[Jason Manzukas]

Isn't the study of snakes herpetology?

[Paul Shear]

Well, it came to the right person. That's how they were attracted.

[Jason Manzukas]

Right?

[June Diane Raphael]

Okay. I.

[Jason Manzukas]

Maybe that's what happened to Nat.

[June Diane Raphael]

And now I don't know. I don't know if. When you're. I. And I do actually want to know. So if anyone has this information, please share. When you encounter a snake and intend to kind of subdue it or kill it, do you. You give it a to like. Yeah.

[Jason Manzukas]

Then you punch it.

[June Diane Raphael]

And then you punch. Because I was like, oh, that's interesting. Is he trying to disorient it?

[Jason Manzukas]

I think he's trying to stun it, not kill it because.

[June Diane Raphael]

Okay, so he couldn't. Right. But I guess my question is, like, why not only punch?

[Jason Manzukas]

Oh, because it'd bite him, I think.

[June Diane Raphael]

Oh. So he slaps it to close its.

[Jason Manzukas]

Mouth down so it's like, whoa. Then he's like, bong. Which makes it, I believe, unconscious so that he can set it as a trap for the guys later.

[June Diane Raphael]

It definitely looked like it had been knocked out.

[Jason Manzukas]

He approaches the fight with the snake the same way that he approaches the fight with Mr.

[Paul Shear]

Absolutely.

[June Diane Raphael]

Absolutely. So. But that's a serious question. Like, is that. Does that seem accurate?

[Jason Manzukas]

Do we have any herpetologists in the room?

[Paul Shear]

Has anyone bitch slapped and then punched a snake in the face? Somebody raised their hand. That's it. And that you get on the big gator tours, the good gator tours. You get to do that. The five hour ones.

[Jason Manzukas]

A real missed opportunity. No gators in this movie for this area. I was like, for sure we're gonna get some gators.

[Paul Shear]

Well, I mean, they spent all their money on the motorcycle budget. Because as we're talking about the snake scene, we have to talk about this scene where he's on the run, he's on a motorcycle. We have established he doesn't know how to drive, but yet he knows how to fucking drive a motorcycle. I Guess he knows how to drive a motorcycle. We'll see in a second. But he's on a chase. The bridge goes out or it's under construction. And this is the moment that I'm really confused at. He takes Yancy and goes, you stay here. From what I understand, in this movie she would be engulfed in flames at the end of this scene. But he puts her in harm's way and then does this it. Yancey is engulfed in flames and dead. Because that truck explodes right where he said, stay here, you'll be safe. That she has no chance of life or survival after that.

[June Diane Raphael]

My only note on this scene only. The only thing I have to say about it is I was bummed that he didn't forward roll over the car. Yeah, you know, there's some.

[Paul Shear]

He tried.

[June Diane Raphael]

You think he tried because there are some great somersaults in this movie. But here he was like in that.

[Paul Shear]

Close up, he is trying to do the forward fall, but the stuntman couldn't do it. Like that's what you're seeing. Like rewind it, Beth, rewind it just a second. Cuz we watch. Watch away Just, just a little bit. You, you see like. All right, watch cuz you'll see he is trying to like that's a forward roll.

[June Diane Raphael]

He's going into it.

[Paul Shear]

Right, but then watch a stuntman watch us. Okay, so that's forward roll.

[Jason Manzukas]

He's trying to plan, right.

[Paul Shear]

But he's going sideways.

[Jason Manzukas]

By the way. That's. That's a nut.

[June Diane Raphael]

That's amazing.

[Paul Shear]

That's an insane stunt. The stuntman I think, tried to land on his.

[Jason Manzukas]

Oh, wait a second. While we're frozen here, what's his watch doing?

[Paul Shear]

One's a compass, that's a compass. And the other side's a calculator.

[Jason Manzukas]

Like what's, what's his watch? Is it Compass.

[Paul Shear]

Compass, calculator. And watch. That's what he's got.

[Jason Manzukas]

I mean, like, honest to God, I'm just noticing this for the first time. It's the first time I'm seeing this on the big screen. It's better. And I'm genuinely like, what's up with this watch.

[Paul Shear]

By the way. Rewind it one more time, Beth, because you know what, we can keep the show a little bit long. Just rewind this a little bit. I want to see when you, when you see him go forward, you see another man's face. Other man's face is great. It's right about, let's see, maybe a second before it's. It's the, it's right about right before. And you see his face on. Yeah, we're getting there. We're getting there. Maybe a second. Oh, wait. Yeah, just try. Okay. Right, so his face.

[Jason Manzukas]

This is incredible.

[Paul Shear]

Right here's his face. You pit play. Let's just see if we can get to it. Another face. Another face right there. Yeah. If you rewind that, you can get that. You'll see another face fully. It's like stuntman from Mel Gibson there. Yeah, that guy.

[Jason Manzukas]

That is. It looks like Jay Leno. It looks like Jay Leno. Denim on denim, standing on top of a motorcycle.

[June Diane Raphael]

Listen, God bless that stunt mouth. Yeah.

[Jason Manzukas]

I think some stunts. I don't use my Tonight show money. I just do stunts. I use all my stunt money instead. Spare time. They said they wanted to rent my motorcycles and my trucks.

[Paul Shear]

Oh, well, I mean, before we get to the audience, I need to. We got to talk about one other thing, which is.

[Jason Manzukas]

I mean, I have so many more notes, but. Yeah, go ahead.

[Paul Shear]

Thank God for Wilford Brimley.

[Jason Manzukas]

I wrote in my notes, like, we're so far into the movie. And I said, where's Wilford Brimley?

[June Diane Raphael]

I was actually worried. I'm like, you were worried that he.

[Jason Manzukas]

Might not be in the movie?

[June Diane Raphael]

I was, because I was so excited when I saw him in the beginning. And I was like, it was really quite some time until he shows up.

[Jason Manzukas]

Now, Wilford Brimley right here. This frame right here highlights something I want to talk about. Swipe edits. This movie has full Swipe edits throughout that are like Star wars that are from, like. Yes. That are from, like, 30s and 40s serials. It's fucking nuts.

[Paul Shear]

I loved it when they meet Wilford Brimley. At first, it just looked like an old man. And I will say this. What I know about Wilford Brimley. He's got very distinctive, like, kind of the most Americana accent. I'm gonna talk. I'm gonna tell you some shit, and this is it, you know? And it's like. And so when he opens his mouth in this movie, my jaw.

[June Diane Raphael]

Yeah. It was shocking.

[Paul Shear]

Done. Dropped.

[June Diane Raphael]

Yeah.

[Paul Shear]

Because I don't know, what is this Creole? Is this French? Is this, like, some bass? I don't even know. I want to get to the audience what they think of this, too, but I guess it's a Creole accent. Take a listen. We fix him up good with bandage. John. It no hurt. Be strong, my boy.

[June Diane Raphael]

Duvet.

[Jason Manzukas]

I've got some people after me.

[Paul Shear]

I know I can't smile them.

[Jason Manzukas]

You still get a 30 out.

[Paul Shear]

6.

[Jason Manzukas]

The one I give you for your birthday.

[Paul Shear]

No, a Gatorade. In and out, but out. I still got your shotgun. He chase after you. He's like, manager for business or pleasure?

[Jason Manzukas]

He.

[Paul Shear]

We can pause it for a second. He's made a choice and he's regretting it. He's in and out of it. It like.

[Jason Manzukas]

I feel like I want to say something that is completely insane.

[Paul Shear]

Yeah.

[Jason Manzukas]

In this movie right here, Wilford Brimley is nine years older than me currently. W. In this movie, that actor is nine years older than I am currently. What's happening? How wild is that now?

[Paul Shear]

How's your Creole accent?

[Jason Manzukas]

Oh, them gongs gators. Them gong gators got my crawdad. Oh, dem po boys and them gators and them crawdads.

[Paul Shear]

All right, so Jason and I watch movies and subtitles. June, I know you don't like it, but we're millennials, so that's a lot of fun.

[June Diane Raphael]

I've actually started to do a pub.

[Paul Shear]

This is a moment that I saw that I couldn't hear, but it was on the screen. This is Lance Hendrickson when he's upset with one of the people. When the man is attacked by a snake. This is what I see. I'll fuck you, then I'll eat you.

[Jason Manzukas]

I heard him say this.

[June Diane Raphael]

Yeah, he said that.

[Paul Shear]

I was shocked. I rewound it three times and took a picture of it just because I was like, I'll fuck you and then I'll eat you.

[Jason Manzukas]

Incredible stuff.

[June Diane Raphael]

I really feel like that was improvised.

[Jason Manzukas]

I was just going to say, I guarantee that's a Lance Hendrickson improvised line, because why would you do it in that order?

[June Diane Raphael]

Fuck you, and then I'll eat you.

[Jason Manzukas]

I like appetite after fucking you. So I got a chomp, chomp, eat you.

[Paul Shear]

I mean, this is from the guy who's big line and the third act of the movie is, hey. Like, he just yells, hey. Like. Like that. That's like, I don't got it. He does it twice. Hey, hey, hey. How are you? Like, it's. It's. I guess it's a nice moment of just pure desperation, but he's so eloquent throughout that I would love to have had him yell something else.

[Jason Manzukas]

Like, he.

[Paul Shear]

He runs out of good lines as the movie goes on.

[June Diane Raphael]

One of my. Again, I have so few critiques of this movie, so this is really the only one I did. I did wish his death was a little bit better at the end.

[Jason Manzukas]

Yes, Hendrickson.

[June Diane Raphael]

Yes, sorry. Lance Hendrickson. I. I was like, the grenade I don't. I want to kick. You know, I want to. I. I want a.

[Paul Shear]

Well, you want a line. Like, I want that grenade to go in his pantom and go nuts and. Okay, like, you know, perhaps. And that's what I wanted.

[Jason Manzukas]

I agree with you 100%. Because here's the thing. Van Damme known for his physicality, his kicks, his punches, that's what he's doing. So, yes, in this movie, he's. He's got a lot of gunplay. Shotgun, handguns, all that stuff. Okay, I'm on board. But the final death, final moment. A grenade felt like blunt, too clunky and clumsy to me in a way that I was like, oh, there's a grenade in my pants.

[Paul Shear]

You wanted him to kick his neck off or something like that. Like, you wanted the throat rip equivalent. Like you needed. You needed the last leg. Like, the last leg kick.

[Jason Manzukas]

I wanted JCVD to kick Lance Hendrickson's head off of his.

[Paul Shear]

Yeah, I see a lot of notes, a lot of handwritten notes. I want you to introduce yourself in your best Wilford Brimley accent and just say, hi, my name is this. And my question is this. All right, so here we go.

[June Diane Raphael]

Hi, my name is Caroline.

[Paul Shear]

Right.

[June Diane Raphael]

And my question is like three or four times. Throughout the movie, birds seem to help.

[Jason Manzukas]

Jean Claude Van Damme. Okay, this is signature John Woo doves and pigeons. This is a. This is one of John Woo's artistic signatures, which is slow motion doves. And in this case, pigeons. Yeah, Hell. And in this case, they. They are actively helping Jean Claude Van Damme find clues, do stuff. It's as if they are his allies in the thing. But it is also part of John Woo's filmmaking if you watch the rest of his movie. But.

[June Diane Raphael]

But what's tough about that is, like, doves are one thing, but pigeons are so disgusting that every time, like, when that pigeon was sitting on his shoulder, I was like, you need to bathe for one week.

[Jason Manzukas]

I sent you guys that picture. This is the only picture I took of the screen was the. When John Rather, when Jean Claude Van Damme winks at the pigeon on his shoulder. I was like, they have more chemistry than him and Nat.

[June Diane Raphael]

True. And the other thing is, I do think he is able to do bird calls with his uncle because that's their special. Hi, it's me. Knock, knock, knock, knock, knock. That's their special signal that it's all clear. But I thought he was actually communicating with the pigeons, like, actually communicating through the. Through calls.

[Paul Shear]

Do you think that pigeon I think.

[Jason Manzukas]

You might be right.

[Paul Shear]

Was a cop.

[Jason Manzukas]

The pigeons are, like, his greatest ally. Until Wilford Brimley arrives.

[Paul Shear]

I mean, the pigeon doing what you just said, coming in and helping him find clues, is wild.

[June Diane Raphael]

Listen again. The police force is down, so someone had to step up. It was the pigeons.

[Paul Shear]

There it is. What is your name? And your best Cajun accent? And your question? Oh, I am George Michael.

[Jason Manzukas]

My question is that. So a Wander Brothers executive said that.

[Paul Shear]

Like, Lance Hendrickson, and also I believe.

[Jason Manzukas]

His name is Arnold Vassul. He had.

[Paul Shear]

They had great chemistry.

[Jason Manzukas]

If.

[Paul Shear]

Yeah.

[Jason Manzukas]

And they.

[June Diane Raphael]

Yeah.

[Jason Manzukas]

They.

[Paul Shear]

The executive said that, like, the person.

[Jason Manzukas]

Like, they regret not having a movie with them.

[Paul Shear]

If you could have a movie with them, would you want them to be a villain?

[Jason Manzukas]

Like a villain duo that wins in.

[Paul Shear]

The end or a buddy like, cop comedy kind of thing going on? Got it.

[Jason Manzukas]

I think I see what you mean. For me, I would have loved. I guess there is a world in which the movie could have existed where the franchise is them. They kill JCVD at the end of this movie, they win, and they go and set up in. Where were they saying Eastern Europe they were gonna go to next and the next movie is them in Eastern Europe versus Stallone or them in Eastern Europe versus Nicolas Cage or them in. The franchise is built around the bad guys. Wouldn't that be cool?

[June Diane Raphael]

Well, I love that idea. I think I just. I still really struggle with the fact that they don't play fair. I mean, we haven't even talked about the opening scene when daddy dies. But Daddy. Daddy does. You know, they set up the rules. Like, if he gets to the river, he wins.

[Paul Shear]

Yes.

[June Diane Raphael]

But he got there. Yeah.

[Jason Manzukas]

Oh, his fingernails on the dock. The sound of his fingernails on the dock was harrowing.

[Paul Shear]

This is a question for everybody. But first to June and Jason, is the river the dock or the river? Like, is the dock.

[June Diane Raphael]

Yeah.

[Jason Manzukas]

Paul, here's the thing.

[June Diane Raphael]

Paul. He says if he gets to the river and he's honestly beyond the river, he's more than at the river. He's over the river.

[Jason Manzukas]

He's in the river. He's above the river on the dock. So the river is underneath. So he certainly has reached the river's limits. And then he falls into the river itself.

[Paul Shear]

Yes. Well, guys, we just wanted you to hear this because this guy's yelled it out four times here. I'm gonna come back to you. Yell it out. Okay, here we go. Just yell what you just been yelling. His feet fell through.

[Jason Manzukas]

He hit the river.

[Paul Shear]

Okay, there we go.

[Jason Manzukas]

Okay. Carhartt Overalls has that to say.

[Paul Shear]

Who? You have the question.

[June Diane Raphael]

But. But no, but I guess the thing is the challenge wasn't submerge your body in the river. It was get to it.

[Jason Manzukas]

I agree. Once you get to the rivers, once.

[Paul Shear]

You pass, they don't play by the river.

[June Diane Raphael]

I don't like that they play that.

[Jason Manzukas]

They play dirty.

[Paul Shear]

Wait, hold on. We have a bad guy defender. What do you say?

[Jason Manzukas]

Oh, I'm just saying there's a geography technicality because he starts in the French Quarter. The very next shot he's on the west bank. There's no way to get there without being in the river.

[Paul Shear]

There it is. He had to be in a river.

[June Diane Raphael]

So you're saying he, he kind of lapped the river like he had been there.

[Jason Manzukas]

There's no way to cross that. Oh, I see. Okay. So you have to know New Orleans geography in order to understand the technicality of the beginning of the movie.

[June Diane Raphael]

I'm so upset. So this.

[Jason Manzukas]

You telling me this movie only really works in this city?

[June Diane Raphael]

Well, listen, I think what we're learning, or I guess this is my question, you know, does anyone ever get away? I mean, they've been in business for years.

[Jason Manzukas]

No, I don't think so. Nobody's gotten.

[June Diane Raphael]

I don't know.

[Jason Manzukas]

Because they play dirty.

[Paul Shear]

Although it did feel like when Perry shot that guy, they didn't seem shocked by it. So that may happen a few times too. But I bet you they still take the $10,000 and kill him. Because when Perry killed the hunter, they're like, kill him. They weren't like, he got the $10,000. It was like, kill him.

[June Diane Raphael]

Yeah.

[Paul Shear]

Now it's time for second op.

[Jason Manzukas]

Hot target. A five star movie. JCVD kicking with EAs homeless veterans through New Orleans. Cuz it's a hot target. Hot target.

[Paul Shear]

Amazing. What?

[Jason Manzukas]

Great work, Great work.

[Paul Shear]

My name's Jesse and like that guy that left earlier.

[Jason Manzukas]

I also love you guys, but I'm still here.

[Paul Shear]

Thank you, Jesse. You can walk down the stairs. These are five star reviews culled from Amazon. There are 3057 reviews.

[June Diane Raphael]

Yeah. Yeah.

[Paul Shear]

Wow. 4.6 out of five stars is the average. That's 76% are five star, 2% are one star. And these are the weirdest ones. Compiled by Nate Kiley. All right, so here we go. This one starts off from Gloria back in 2020. My husband loves this movie. He just can't get enough of it, which I find weird. But it's Van Damme. Five stars. Best movie of all time.

[Jason Manzukas]

This one's for the Husbands.

[Paul Shear]

This one is from Frankie D from 2013. This is one of the best Jean Claude Van Damme movies ever because most of his movies are crap. He cannot act and he does the same fight scenes over and over in all of his movies. This was good because it was John Woo. The slow motion style and the two guns and a whole lot of shooting. Van Damme was serviceable. He didn't really mesh well with Wu because Van Damme likes to do a lot of kicks and Woo likes guns. Overall, it was a good movie. 5 stars. One of the best Van Damme movies ever. Didn't get that was going to be five stars really came in there. This one I like from Evans Frederick from 2017. This is my favorite actor JCVD. I like this movie so much. I remember when I was 14 years old and that this movie came to a theater close to me. I mean back home. Five stars. Also this gentleman Scotty kind of missed the point of the review when he goes, not exactly a complaint. Well, this is a review section, so not either. But the package I got contained 4 Jean Claude Van Damme movies. Not just Hard Target, but it did include Hard Target, so I ain't mad. Five stars.

[Jason Manzukas]

Can you imagine the joy when you order Hard Target and three other JCVD are in the package. What a delight. That. That's like a. That's Christmas come early.

[Paul Shear]

I mean 100%. And this is. Is one that I thought was disturbing from Du Jour Thomas. He writes this. I love watching this movie with my mom. I used to reenact the scenes with my toy pop gun. Five stars.

[Jason Manzukas]

I did love that in this movie, all bullets seemed to explode with the. To the level of a landmine every time they hit.

[Paul Shear]

I mean one bullet blew up a house.

[Jason Manzukas]

Triggers an. A legitimate explosion.

[June Diane Raphael]

Yeah. During the warehousing at the end, there's a container that takes off like a rocket.

[Paul Shear]

Yeah.

[Jason Manzukas]

It truly from just a single shot.

[June Diane Raphael]

It just is like it goes up though.

[Paul Shear]

Yeah.

[Jason Manzukas]

Oh yeah, yeah, yeah.

[June Diane Raphael]

It doesn't even explode.

[Jason Manzukas]

No, no, yeah, yeah, exactly. It like it like pretty wild in.

[Paul Shear]

The air, but yet this movie does the best stuntman trick of all time. Motorcycles, snake punches, exploding rockets, houses. They have the budget but they didn't have enough budget to do one scene where they just fly into moving boxes. Just a wall of like a moving truck and then just moving boxes. Like oh, we crash into the moving boxes. Like that's like when you have no money to do stunts, you fall into moving boxes. I thought that was fun and cheap. Some facts from Nate Kiely here. Van Damme would insist on having one of the cameras focused on his muscles at all times. Wu complied, but never used that footage.

[Jason Manzukas]

I need to make that part of my contract.

[June Diane Raphael]

Yeah, you gotta put that in your writer.

[Jason Manzukas]

I need people to, like, be. I need. I need there to be an extra camera just trained on my bod.

[June Diane Raphael]

Yeah, figure it out. Line producer, working in the budget. It's not my problem.

[Paul Shear]

Budget, 18 million opening weekend, 10 domestic gross, 32 worldwide gross, 74 million.

[Jason Manzukas]

Did work wonderful.

[Paul Shear]

It comes out the same year as Jurassic Park, Mrs. Doubtfire, the Fugitive. It came in 48th. It was beaten by Demolition man, and it beat Super Mario Brothers. Look who's talking now. Surf Ninjas, Mr. Nanny and Airborne. That's a big how did this get made year. And what a.

[Jason Manzukas]

What a great year.

[June Diane Raphael]

What a time to be alive.

[Jason Manzukas]

What a great year for film.

[Paul Shear]

Yeah. And the tagline is don't hunt what you can't kill. And that is hard Target New Orleans. You did it. You did it.

[June Diane Raphael]

Wow.

[Paul Shear]

But quickly, what do we want to plug? Jason, what do you want to tell people about?

[Jason Manzukas]

I will say that if you haven't started it, I cannot recommend highly enough the Amazon prime series Paper Girls. And if you watch it, it's incredible. It's great. It's based on the Brian K. Vaughn and Cliff Chang comic book. And at a certain point, I am in it. I didn't know that I get to be a bad guy. It's fun.

[Paul Shear]

I love it. Did you take any lessons from Lance Hendrickson?

[Jason Manzukas]

Oh, boy. I wish I'd seen this movie before this. I would have. Absolutely. Taking inspiration from Lance Hendrickson for sure.

[Paul Shear]

And June, what do you got?

[June Diane Raphael]

I'm in this season of Everything Is Trash, Phoebe Robinson show on Freeform. So I'm doing a couple of episodes and the last two that I'm in are coming out in the next few weeks.

[Paul Shear]

And then I will quickly just plug. What am I going to plug? I have to look at what I put. Oh, yeah, you can listen to unspooled. Quentin Tarantino was on it. And every Thursday night, Rob Huebel and I, who actually work with John Claude Van Damme, do a show on Twitch, totally for free. If you just go to Twitch or YouTube, you can watch it there. And Star Trek Lower Decks Season three starts next week, which will be great. And thank you for being with us. This is a massive, big show to kick us off. Thank you to Beth running the tech. First time out, back on the road. Thank you, Beth. Thank you, everybody. Here at the Fillmore. We're taking a post.

[Jason Manzukas]

Thank you, everybody. Who was brave enough to do your second opinions songs in front of.

[June Diane Raphael]

Thank you so much.

[Jason Manzukas]

In front of a crowd of judgmental people. Wow. People are getting up and leaving.

[June Diane Raphael]

They got to go.

[Paul Shear]

You know what?

[Jason Manzukas]

You got to get home. I understand. Thank you, everybody. Thank you, New Orleans.

[Paul Shear]

Thank you for coming out.

[Jason Manzukas]

We love seeing you. Nice work, New Orleans. Go yourselves. Hey, what's going on over there? It's me, Trevor Noah. You know me. You don't know me. Oh, you do.

[Paul Shear]

I was worried there for a second.

[Jason Manzukas]

Well, if you know anything about me, you'll know. I love having interesting conversations, conversations where we scratch beneath the surface, like what's really going on in the news?

[Paul Shear]

Or what is that celebrity really thinking.

[Jason Manzukas]

About that scandal that they had?

[Paul Shear]

Or what's the worst way to be a parent? I mean, you want to find that out so you can be the best parent, right? Well, regardless of what it is, this.

[Jason Manzukas]

Podcast is all about figuring that out, talking to interesting people who have interesting ideas that give us an interesting perspective on the world that we're living in. So check out what now with Trevor Noah, available wherever you get your podcasts.

[Paul Shear]

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[Jason Manzukas]

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[Paul Shear]

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