Shattered (HDTGM Matinee)

Summary

Summary of "How Did This Get Made?" Podcast Episode: Shattered (HDTGM Matinee)

Release Date: March 11, 2025

Hosts: Paul Scheer, June Diane Raphael, Jason Mantzoukas

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Introduction

In this special Matinee episode of "How Did This Get Made?" (HDTGM), hosts Paul Scheer, June Diane Raphael, and Jason Mantzoukas delve into the early '90s erotic thriller "Shattered." Known for celebrating and dissecting some of the worst films ever made, the trio explores the intricate plot, character dynamics, and overall execution of this cult classic.

Overview of "Shattered"

"Shattered" (1991) stars Tom Berenger, Greta Scacchi, and the late Bob Hoskins. The film centers on Tom Barringer (Berenger) and his wife, who survive a horrific car accident. Tom emerges with psychogenic amnesia, unable to recall personal memories but retaining his professional skills. As he seeks to regain his identity, he suspects underlying secrets about the accident, leading to a web of deceit and suspense.

Detailed Plot Analysis

The Car Accident and Amnesia

The podcast begins with an introduction to the film's premise: a couple survives a severe car crash, but Tom suffers from psychogenic amnesia (00:00-02:34). Jason Mantzoukas remarks, “This was the kind of movie that I feel like I would have rented from the video store” (02:34), highlighting the film’s appeal during the pre-streaming era.

Investigating the Truth

As Tom navigates his amnesia, he discovers discrepancies suggesting that his wife might not be who she claims to be. Paul Scheer explains, “Psychogenic amnesia. Patient doesn't know his name, his family, his personal history” (05:04). The hosts discuss the plausibility of such a condition, questioning the film's medical accuracy and the protocols surrounding identity verification in hospitals (23:00-25:26).

The Twist Reveal

A major plot twist unfolds when it’s revealed that Tom's "wife" is actually his lover who, after the accident, reconstructs Tom’s identity to cover up her affair and his subsequent actions. June Diane Raphael notes, “She just kind of reached my max... I can’t do this anymore” (56:16), referring to Greta Scacchi’s character grappling with her on-screen nudity and deceit.

Character Dynamics and Performances

Tom Barringer (Tom Berenger)

Tom is portrayed as a man lost in his own identity, struggling to piece together his past while dealing with suspicions about his relationships. The hosts critique his character development, noting his lack of emotional depth despite the intense circumstances (16:41).

Greta Scacchi’s Dual Role

Greta Scacchi plays both the wife and the lover, showcasing her versatility. Paul Scheer highlights the challenges of maintaining dual identities on screen, especially when one is reconstructing another’s face through plastic surgery (22:30-23:07).

Jack Stanton (Bob Hoskins)

Bob Hoskins' character, Jack Stanton, serves as the private investigator unraveling the mystery. Jason Mantzoukas praises Hoskins’ performance, emphasizing his ability to convey suspicion and determination (36:09).

Technical Aspects and Special Effects

Special Effects Critique

The film features ambitious special effects, such as launching a Mercedes off a cliff using a custom-built compressed gas gun. Paul Scheer describes the scene as “a Mercedes getting launched out of a fucking cannon” (15:22), critiquing the unnecessary spectacle that detracts from the plot’s coherence.

Flashbacks and Narrative Structure

"Shattered" employs extensive flashbacks, comprising approximately 40% of the film’s runtime. This technique, as discussed by Paul Scheer (16:41), often disrupts the narrative flow and confuses the audience, making it harder to follow the storyline.

Realism vs. Cinematic License

Amnesia Representation

The hosts debate the film’s portrayal of amnesia, questioning its realism. Paul Scheer elaborates on psychogenic amnesia, discussing its symptoms and comparing them to the film’s depiction (05:04). They consult Paul’s mom for expert opinions, further scrutinizing the film’s medical accuracy (23:00-25:26).

Legal and Ethical Implications

The podcast explores the legal procedures surrounding identity verification in hospitals, highlighting glaring inconsistencies in the movie’s handling of Tom’s condition. June Diane Raphael points out the lack of proper identification protocols, making the plot's developments seem implausible (23:07).

Comparison to Other Films

"Regarding Henry" vs. "Shattered"

June Diane Raphael compares "Shattered" to "Regarding Henry," noting both films feature protagonists with memory loss but diverge in their emotional and narrative depth (37:02). They discuss how Harrison Ford’s portrayal in "Regarding Henry" offers a more compelling and relatable character compared to Tom Berenger’s more affectless Tom Barringer.

Trend of Amnesiac Protagonists

The hosts observe a trend in '80s and '90s thrillers where amnesia is a common plot device, allowing characters to uncover hidden truths and secrets. They lament the decline of such narratives in modern cinema, noting a shift towards different genres and storytelling techniques (66:38-67:35).

Critical Reception and Audience Scores

Mixed Reviews

The podcast mentions that "Shattered" holds a B+ audience score. They humorously reference Amazon reviews, some of which appear to be parodies, underscoring the film’s cult status despite its flawed execution (70:44-73:24).

Box Office Performance

"Shattered" struggled commercially, ranking 102nd in its release year against major blockbusters like "Terminator 2" and "Home Alone." The hosts compare its performance to other cult classics they’ve covered, emphasizing its relative obscurity (76:08-78:02).

Conclusion and Recommendations

While "Shattered" embodies many '90s erotic thriller tropes, the podcast concludes that its overreliance on gimmicks like excessive flashbacks and implausible medical depictions hinder its effectiveness. However, fans of the genre may find enjoyment in its nostalgic elements and Bob Hoskins' memorable performance.

Jason Mantzoukas suggests, “Go ahead, watch it. It's a lower-tier erotic thriller, but still fun” (76:13), recommending it for those interested in exploring the peculiarities of early '90s cinema.

Notable Quotes

• Jason Mantzoukas (02:34): “This was the kind of movie that I feel like I would have rented from the video store.”
• Paul Scheer (05:04): “Psychogenic amnesia. Patient doesn't know his name, his family, his personal history.”
• June Diane Raphael (56:16): “She just kind of reached my max... I can’t do this anymore.”
• Paul Scheer (15:22): “A Mercedes getting launched out of a fucking cannon.”

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This comprehensive summary encapsulates the key discussions, critiques, and insights shared by the hosts as they navigate through the convoluted plot and execution of "Shattered." By highlighting notable quotes and organizing the content into clear sections, the summary provides a thorough overview for those who haven't listened to the episode.

Transcript

[Paul Scheer]

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[Paul Scheer]

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[Paul Scheer]

Finally, a movie for people who hate glass and mirrors. We saw Shattered, so you know what that means.

[Jason Mantzoukas]

Now it's time for how to discover. We're gonna have a good time, celebrate some failure, not just be a hater. Cause you know, you wonder, how did this remain? Let's wallow in the mediocrity of subpar art. Perhaps we'll find the answer to the question, how did this get made?

[Paul Scheer]

Hello, people of Earth, and welcome. Welcome to how did this get made? I'm your host, Paul Scheer, AKA Tal Jon, and today we are talking about Shattered. Now, which shattered are we talking about? We're talking about the one that came out in 1991, starring Tom Behringer, Greta Saatchi, and of course, the late, great Bob Hoskins. The movie is about a man and a wife who get into a horrible car accident. The man has amnesia but suspects that something is up. We'll get into all of this, but first let me welcome my co host. Please welcome June Diane Rayfield and Jason Manzukas. How are you both?

[Jason Mantzoukas]

You know, I, I, this was a, this was a wild ride. This was, this is the kind of movie that I feel like I would have rented from the video store.

[June Diane Raphael]

I was just gonna say this, Jason.

[Jason Mantzoukas]

Right. That I would have been like, I bet this is gonna be awesome. And I would have been disappointed. I had such, even though there was boobs. So I'm sure I would have been excited for that.

[June Diane Raphael]

Well, that's what I was thinking when I saw it. I feel like I, I, I thought to myself, I've definitely seen this with my parents on a couch. Like, uncomfortable.

[Jason Mantzoukas]

You know, like when you would rent, like, Pacific Heights or, you know, like all of the thrillers of this.

[June Diane Raphael]

By the way, what's so interesting about that is, like, I feel that the number, I mean, I know we've talked about thrillers before, and I do love a thriller, but the number of movies in the 90s, the thrillers about, like, men kind of figuring out who they were. Like, I was thinking about regarding Henry. Regarding Henry and the Ritz Crackers and him painting and even like the future.

[Jason Mantzoukas]

Like, J.J. abrams first script.

[June Diane Raphael]

Oh, wow. I loved that movie. That was one of the few movies I had on vhs.

[Jason Mantzoukas]

He wrote it in college.

[Paul Scheer]

Wow.

[June Diane Raphael]

I had that movie on VHS and watched it like 8 million times with Ann Archer, who was incredible in it. Scientologist.

[Paul Scheer]

We did have that's a Lady of.

[Jason Mantzoukas]

That's a Lady. That's for the ladies of the 80s podcast. An archer. Bonnie Bedelia.

[Paul Scheer]

Come on, Bonnie Bedia.

[June Diane Raphael]

But I just loved, I loved all of these movies.

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

You know, and so this movie felt very familiar.

[Jason Mantzoukas]

Wolfgang Peterson, who made this movie, made so many of those movies, is some. He, he did like Air Force One. He did like Harrison Ford movies. He did like the, His Presence.

[Paul Scheer]

Outbreak, Air Force One, the Boat, the Never Ending Story. The Perfect Line of Fire. Yep.

[June Diane Raphael]

Wow.

[Jason Mantzoukas]

I didn't know. Wow, that's exciting.

[Paul Scheer]

Yeah. But I will say that Molly did some amazing research and actually put together a list of thrillers in the early 90s that all had, like, a similar vibe. It was movies like Malice Deceived, Shattered Mortal Thoughts. Those all came out in the same year. Then in 92, it was like Consenting Adults, Unlawful Entry, Presumed Innocent.

[Jason Mantzoukas]

Presumed Innocent is another. That's another one. Yeah.

[Paul Scheer]

Remember Jagged Edge?

[Jason Mantzoukas]

Jagged Edge, Jed.

[Paul Scheer]

Great. Guilty as Sin, Sleeping with the Enemy, and A Kiss Before Dying. I mean, this is a time.

[Jason Mantzoukas]

And I would say, like, 40% of those movies feature amnesia.

[June Diane Raphael]

That's what I'm saying.

[Jason Mantzoukas]

In the 80s and 90s, everybody got amnesia. You didn't. You knew somebody. You through that decade without, you know, randy's got amnesia.

[June Diane Raphael]

In this decade, like, you're gonna get it. It's just a matter of time.

[Paul Scheer]

You're gonna get some amnesia. But you also are gonna figure, I think, what's going on.

[Jason Mantzoukas]

Oh, did you hear about Gary? Oh, yeah, Retrograde. The guy doesn't remember a goddamn thing.

[Paul Scheer]

Well, in this movie, it's called psychogenic amnesia. I'll let the movie explain.

[Jason Mantzoukas]

We call that psychogenic amnesia. Patient doesn't know his name, his family, his personal history, everything else he remembers the year who's president. He can drive a car, he can function professionally. But anything personal, just out of reach.

[Paul Scheer]

For how long?

[Jason Mantzoukas]

Could be a week. I'm gonna have to be honest. Could also be permanent.

[Paul Scheer]

This movie is, to me. I wrote this down. And I don't want to like, look, I know we're talking about all these movies, and we love this type of film, but this film in particular is, like, people paid money to go see this in the theater. Like, this was a movie in the theater. Like, it feels to me so. And I. Maybe it's just because of where I'm at now, but, like, so streaming, it's like, it seems made for TV doesn't.

[Jason Mantzoukas]

Well, this is the kind of movie that doesn't exist anymore. Like, we don't make these movies anymore. Right. The closest we did, the closest we've come, we did it on this show, which was the JLO movie, the Boy Next Door, you know, I mean, which had. Which had components of kind of, you know, these kind of erotic thriller type stuff. But it wasn't even good enough. It wasn't even up to this level.

[Paul Scheer]

These movies were, like, written by people who are like, I kind of hate my wife. I kind of hate my husband. If only I could kill them, or only if I could frame them for murder, or. What if I found out my wife was a murderer? What if I found out my wife was a. You know, this constant. Like, you can tell that in the early 90s there was a deep resentment of spouses, and they were being taken out in these movies.

[Jason Mantzoukas]

Seemingly the only way to get out of a bad marriage. Murder. Oh, murder. By the way, a convoluted plot to cover it up. Like, by the way, like, I want.

[Paul Scheer]

Welcome to, like, Dateline. I mean, that essentially catchphrase, welcome to Dateline.

[June Diane Raphael]

And honestly, you're right, Paul, because we don't have these movies anymore, but we do have Dateline and I just want to quickly shout out the Dateline podcast because I know that I'm not alone. It's one of the most popular podcasts on. On podcasting.

[Paul Scheer]

No, let me, let me just say something about this.

[Jason Mantzoukas]

I didn't even know how to end that sentence. It's one of the most popular podcasts on. And I watched your brain really try and figure out what the next tpn, the podcasting network, you know, it's the.

[Paul Scheer]

Dax Shepard show, then Dateline or maybe they switch spots back and forth.

[June Diane Raphael]

I'm surprised, Paul. You'd be surprised.

[Paul Scheer]

It's very popular right on the network. I am shocked. And I believe Eugene. I am shocked though, because the Dateline podcast, as I've heard many times because June likes to fall asleep with the phone by the bed on, not in headphones. It's just playing podcasts.

[Jason Mantzoukas]

I do that as well.

[June Diane Raphael]

Thank you, Jason.

[Jason Mantzoukas]

So as I come, except I'm playing Harry Potter audiobook.

[June Diane Raphael]

Oh, interesting. Yeah, I love.

[Jason Mantzoukas]

I'm a 49 year old man who falls asleep to stories. You should have come reading him a child story.

[Paul Scheer]

You should have come to our son's birthday party or his friend's birthday party. They got to make their own potions.

[Jason Mantzoukas]

You can tell that friend I'm pissed I wasn't invited.

[Paul Scheer]

I'll tell Sufi right now.

[June Diane Raphael]

Now I will say that listening to podcasts as you're falling asleep, well, I'm also, I can no longer be alone with my own thoughts. It's like not safe. So I do like to have, I like to just have my friends around.

[Paul Scheer]

You know the story of murder. I gave June a Keith Morrison ornament for Christmas because I knew. Yeah, because I knew how much he means to her.

[Jason Mantzoukas]

Wow. You know what? And if you had asked me, I wouldn't have known who the host of Dateline was. Oh, I do. I would not. That's how, that's how not in on Dateline I am.

[June Diane Raphael]

Well, there are other correspondence, you know, but Keith, he's the best. Keith isn't.

[Jason Mantzoukas]

He's the main guy.

[Paul Scheer]

Here's what I'll say about the Dateline podcast. There's never been a more fudge you energy than Dateline because yes, they are popular. How popular are they? It feels like someone has gone up to the TV and pressed record and they go, that's the podcast. Because it is cut as a television show.

[June Diane Raphael]

That's why I appreciate it.

[Paul Scheer]

It's like the TV show.

[June Diane Raphael]

They're not going in to re record and lots of times they're like. And as you can see, the next thing happened. And then they'll just cut to sounds. And we can't see.

[Paul Scheer]

You can't see. They cut to commercials that aren't there. It's like, hey, when we get back, Melissa does confront her husband. When Melissa confronted her husband.

[June Diane Raphael]

References that you're never gonna get.

[Paul Scheer]

They're not even bridging it. They're not even bridging it.

[Jason Mantzoukas]

Oh, that's fascinating, but I apprec.

[June Diane Raphael]

Cause I'm like, dateline, the show is. That's the text and that's the, you know. Or like, that's the raw material. And so I appreciate the commitment to us listeners of, like, we know where the source material is and we know what it is.

[Jason Mantzoukas]

The same thing is, if you've watched the episode, are you listening to the same thing in the podcast episode? You're doubling up.

[June Diane Raphael]

I'm not always. I don't really catch it on tv. I'm more just, oh, I see. Got it via podcast. But there's no help. They have not added and re record recorded extra things.

[Paul Scheer]

Not even an intro. I mean, by the way, it seems to me like the Dateline podcast May put out 400 episodes a year.

[June Diane Raphael]

Well, I'll tell you, they do it. They release every Tuesday. And I am waiting, and I'm ready. And I know people always yell at us about, like, oh, you guys don't release our episodes enough. And. And I get so pissed, and I'm like, we don't charge anything for this, and blah, blah, blah. But I now understand what it is to be a listener who's waiting for an episode to drop by the way.

[Paul Scheer]

We drop our episodes on time every week. I'm sure.

[June Diane Raphael]

But I'm just saying, like, I now.

[Jason Mantzoukas]

Get why, like, the fans lament.

[June Diane Raphael]

Yeah, I really do. Cause I'm like, you're out there just.

[Jason Mantzoukas]

Checking the podcast network to see if it's updated for a new Dateline.

[Paul Scheer]

By the way, I will say this, too.

[June Diane Raphael]

The weirdest is when I, like, drive home and I'm not ready to get out of the car, you know, because I gotta find out what happens. And then to just watch your children through a window playing and be listening.

[Jason Mantzoukas]

To the episode where it's just a murder story.

[Paul Scheer]

Jason. She looks at me weird because I think that now her mind has been poisoned by murderous husbands. It's like, I watched one episode where it was.

[Jason Mantzoukas]

So I'm certain, like, I can completely understand June coming into the house, you saying something, and her being like, what are you up To.

[Paul Scheer]

Oh, absolutely, absolutely. I mean, even last night when you got. When you came home and I just changed my voice just slightly. It really freaked out.

[June Diane Raphael]

I just listened to something that was very unsettling on the drive home.

[Jason Mantzoukas]

That's why you should do random, weird things, Paul. Like, that are like. Like, dig a hole in the backyard and then put it. Then cover it back up.

[June Diane Raphael]

I do want to direct listeners because there's a recent episode of Dateline, and then we'll get to this podcast, obviously. But there is.

[Jason Mantzoukas]

Which could have been an episode of Dateline.

[June Diane Raphael]

There is an episode that is just about. It's called Venom, and it's about these, like, snake and exotic animal owners, but specifically a man who, it appears, was killed by a snake. And then the story unfolds, and let's just say it's a little bit more complicated.

[Paul Scheer]

Wow.

[Jason Mantzoukas]

Okay.

[Paul Scheer]

Well, I bet he was killed by a snake. All right, I just want to put down some groundwork here for people. This movie is available on Tubi, our good friend Tubi, but also everywhere. Amazon.

[Jason Mantzoukas]

And it's also available on not to Be.

[Paul Scheer]

Yeah, exactly. To be.

[Jason Mantzoukas]

You can make the choice to be.

[Paul Scheer]

Or not to be. You can make that choice. Here's what I will say for us. If you will agree with this. I don't think we should reveal the twist right now. Let's talk a little bit around it until we feel like we want to reveal the twist. Or would you like to go in just going twist on.

[June Diane Raphael]

Well, let me say this. What's interesting, and I won't reveal it yet, is when you said in the opening. Just like, log line and the opening description of the movie about our main character not being able to look in the mirror, I didn't actually understand that. And now I'm looking back on it, and I'm like, oh, of course.

[Jason Mantzoukas]

Right.

[Paul Scheer]

Well, by the way, I figured out the twist in. I was writing a joke, and as I wrote the joke, I was like, that's the fucking twist.

[June Diane Raphael]

Did you know it, Jason? I did not know it.

[Jason Mantzoukas]

I did as well, because of. There's a line. There's a line that is. That tips it really specifically in a way that I thought was clumsy, in a way that I.

[Paul Scheer]

Then let's reveal. Let's all reveal the twist.

[Jason Mantzoukas]

Let's talk about the movie. Let's talk about the movie chronologically. And if it organically arrives, we can spoil the twist. Suffice it to say, this movie for. For the. For the almost the entirety of its runtime is presuming one Thing. And only in the very final minutes does it have a twist that opens.

[Paul Scheer]

Up which is ultimately all these movies. I mean there was a movie with like Ed Norton about like he was on trial, like it was always like the third act and ba ba ba, like you know, like he was the killer, he was the person. I just thought that this movie opened up in such a hilarious way. We talked about falling off the rock face in that Killing Me Softly movie. Here we watch a Mercedes get launched out of a fucking cannon. Like it, like that Mercedes flies out and I was like, this movie is.

[Jason Mantzoukas]

Set in San Francisco and there are so many cars launched off of cliffs into fireballs. It's incredible. Wolfgang Peterson loves that. It loves those big special effects moments.

[Paul Scheer]

I mean, and they actually again, Molly did some great research here and found that they built a custom built gun with compressed gas that can that, that had a thrust of 1,400 pounds, which was able to send a Mercedes 200ft off a cliff before it fell more than 500ft. And they had six cameras, several manned by rope secured technicians experienced in climbing rock faces to get into pivotal positions. And then they had to have cameras lower down on the cliff to be put in place with their equipment in a heavy duty helicopter capable of lifting £2,000 to get all this footage. And let me tell you, every bit of that footage is used because they show so many flips. It's like a fucking SNL Toonces the cat sketch, Honk Kakunk. And it's like, oh, okay, got it. It's like, okay, got it. And then right after they have a flashback to like we just, we just saw it 30 seconds ago. We don't need the flashback of how.

[Jason Mantzoukas]

Hard this movie is. Is 40% flashbacks.

[June Diane Raphael]

Yes. Oh my God, 40%.

[Paul Scheer]

Yes, it's 40% flashbacks. And I would say 70%. Everyone not understanding how to deal with anybody on a human level. These people are monsters.

[Jason Mantzoukas]

Everybody is like, yeah, everybody's a monster. The fuck. Tom Behringer, who is the character who has amnesia, who is like a tabula raza, who is like wandering through the movie being like, I don't know, I don't know, I don't know. I don't know at what point it.

[June Diane Raphael]

Turns out he is kind of a monster.

[Jason Mantzoukas]

Well, no, he's not.

[Paul Scheer]

Not a monster.

[Jason Mantzoukas]

He's an innocent twist.

[June Diane Raphael]

I'm sorry, you're right. He, the person who, he.

[Paul Scheer]

Take it back. Take it back.

[June Diane Raphael]

He's not a monster.

[Paul Scheer]

Well, they, yes, they try to make a monster.

[Jason Mantzoukas]

Yes. So I Mean. I mean, now we're. Now we're there, so we might as.

[June Diane Raphael]

Well so start at the hospital, because what we will find out is so. So Tom Beringer is in that car, and his wife has been thrown out of it. And he is so severely injured that his mate, his face is unrecognizable. And, like, he looks.

[Paul Scheer]

I mean, he looks like a trauma character, like, like the Toxic Avenger. I was like.

[June Diane Raphael]

When I saw it, it was absurd.

[Paul Scheer]

It made me laugh so hard.

[June Diane Raphael]

Because it's much interesting, though, is that they didn't wrap. Because I think another choice would have been to, like, wrap him in gauze.

[Paul Scheer]

Yeah, of course.

[June Diane Raphael]

You know what I mean? But they were like, no, no, no. You're gonna see.

[Jason Mantzoukas]

You need you actually, for the twist to work, you need to see him.

[Paul Scheer]

But by the way, there is something so crazy, though, because he has so many open wounds on his face. The fact that they wouldn't wrap him up to just protect the.

[Jason Mantzoukas]

So many sleeping wounds, seeping wounds.

[Paul Scheer]

But the doctor who wakes up, we see the wife get tossed out of the car, and she kind of rolls. And when the doctor. The woman, the wife wakes up, she's okay.

[Jason Mantzoukas]

She's. She's minorly injured.

[Paul Scheer]

Her arms in a light sling, a very light sling. The doctor wakes her up. She, like, literally looks to me like she's just woken up out of a coma. We find out later, it seems like only like an hour later or two, like, three hours.

[Jason Mantzoukas]

She's in the hospital for, like, three hours, and.

[Paul Scheer]

And she. She wakes up, she, like, looks at her, looks at him and goes, you made it out okay. Luckily, lucky you made it out okay. Wish we could say the same for your husband. Whoa, whoa, whoa, whoa. Hold on. This woman just is waking up from a coma and you're dropping this? Like, he doesn't even wait to drop that. Your husband is horribly injured. To this woman who has not asked.

[June Diane Raphael]

You should just be like, how do you feel?

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

Do you have amnesia?

[Jason Mantzoukas]

You've been in a terrible accident.

[June Diane Raphael]

Yeah. You're sure you're alive?

[Jason Mantzoukas]

Yes.

[June Diane Raphael]

You know, I mean, here's the interesting thing that this movie got my wheels turning, and I want. Kind of wanted to have your mom on. Paul, maybe we could call her real quick. Because I do think one of the things that I.

[Paul Scheer]

You want me to call my mom?

[June Diane Raphael]

Well, because I want to ask her this question.

[Paul Scheer]

All right, let's see if I can.

[Jason Mantzoukas]

So.

[June Diane Raphael]

Well, just. Just hold on, because I got it. I want to talk it through, and then we'll formulate it.

[Paul Scheer]

Okay.

[June Diane Raphael]

When. So what we come to find out is that the man in the car, there was an assumption from this doctor that he was her husband. He was not. He was her lover who.

[Paul Scheer]

Well, there we go. That's.

[June Diane Raphael]

That's the twist.

[Paul Scheer]

That's the twist, yes.

[June Diane Raphael]

Now what then happens? This man is so mangled, when they start his recovery and plastic surgery, because he's unrecognizable, she provides a photo of her husband.

[Jason Mantzoukas]

Right.

[June Diane Raphael]

Okay. So he is then reconstructed to look like her husband. Now, my question for your mom and like, the healthcare system is, do you have to do any identification? Like, can you just start?

[Jason Mantzoukas]

Like, had they fingerprinted him, they would have figured out immediately. Like, that's the thing. Like, Joanne, Wally Kilmer character realizes it's not him because his hands are different. Yeah, right.

[June Diane Raphael]

Yeah, you're right. And. And then, you know, just in terms of blood type and all of the medical questions, and that's what I want to ask your mom about. Like, are there any protocols in place?

[Jason Mantzoukas]

I realize it's over a lot of that stuff because, like, then it falls apart. Right?

[Paul Scheer]

Well, I mean, the fact that they're maybe not.

[June Diane Raphael]

Maybe this is my husband.

[Paul Scheer]

Well, by the way, this is how. This is how I figured out the twist. Because at one point, Tom Barringer, tabula rasa. Tom Barringer, who is recovering from amnesia, is in his office trying to, like, re. Put together his life, and he finds a roll of, like, negatives, like film negatives. And in the roll of negatives, he's examining them, and he sees his wife having sex with somebody else. With somebody else. And so as he's looking in, like, every frame is getting a clear picture of. That's definitely his wife and that's not him. Who is it? And then they reveal who it is. And I wr down she having sex with Tom Behringer's stunt double.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

And I was like. Because they look so alike. And then I was like, oh, oh, okay, I get it. Like, because, like, they needed him to look enough alike Tom Behringer so you could buy the twist. But they looked too. Like, he really does look like the stunt double of Tom Behringer.

[June Diane Raphael]

Interesting. I think it would have worked a little better. The movie would have looked. Worked a little better if they didn't look so similar.

[Jason Mantzoukas]

I know, but I think it would have been. I agree it would have been a bigger surprise, but I think they did it because he couldn't have blonde hair could have been done.

[Paul Scheer]

Right.

[Jason Mantzoukas]

Because his hair made that guy look kind of like Tom Baron.

[Paul Scheer]

I think they needed to have the same hair. And by the way, hair in this movie is amazing. There's a great wig moment in this movie, by the way, when they are operating on him. Extensive plastic surgery on this man's face. And, you know, they're looking at the. His nose, and they're doing everything right there, is there. The operating rooms are so dark. They're like. They are like. They are operating by candlelight. This is like a scene from, like, the Nick.

[June Diane Raphael]

Yeah. So can you just call your mom quickly, see if she'll pick up and just ask her this. Just say a person comes into the hospital.

[Paul Scheer]

Okay, hold on.

[June Diane Raphael]

Completely mangled. Can you please ask her a bit?

[Paul Scheer]

All right.

[June Diane Raphael]

Please.

[Paul Scheer]

If someone came into a hospital with a disfigured face and like, say I approached you. I came into a hospital. June and I were in a car accident, and her face was disfigured. And I said, that's my wife. And they said, we need to do plastic surgery on her. And I gave pictures of June to the plastic surgeon to help reconstruct her face. Would they just do it, or would they need to verify that that is definitely June? And I'm not having them do different plastic surgery. Like, the different face of someone makes.

[June Diane Raphael]

Me look like someone else. I'm not.

[Paul Scheer]

Yeah.

[D]

Okay, so here's the way it would work. If you came in following an accident, then you would have an ambulance driver that had picked up, and they would have looked at identification. If her face was so disfigured, but she was cognitively able to make her own healthcare decisions, she would have to sign her own health care consent form, and she would identify herself as June or whomever, and you would have identification. If she had no identification, that presents a problem. We would probably say to you, the home, and bring back some identification. Unless it was an emergency. If it was an emergency, they would just take her to the operating room and do the best that they could.

[Paul Scheer]

And now. Now two questions here. If she is in a coma and can't answer those questions, they could maybe fat. Like, would they. Or. Or she had amnesia. Would. Like. I guess we're trying to figure out what plot point of this movie. If she had amnesia and she couldn't remember who she was, it would still go back to id.

[D]

Yeah, you'd have to. Somebody would have to bring in, first of all, an evaluation from a psychiatrist.

[Paul Scheer]

Okay.

[D]

That she actually has amnesia. And how. You know, this soon. In other words, within the likes, let's say the last two Two weeks to a month. And that during that period of time, you might have gone to work, might have gone to court, and you obtained guardianship or in the process of becoming her guardian, or you had paperwork from an attorney identifying who you were and who she was, et cetera, so that they could go ahead.

[Paul Scheer]

Okay. This is fascinating and really helps us with this movie that we're talking about, and I appreciate your expertise. Thank you so much.

[D]

Okay.

[Paul Scheer]

All right. Bye. Bye. So what my mom said was the ambulance driver would look for id, so she would see the ID of the person. Now, in this scenario, she could have swapped IDs very easily because she might have had her husband's ID from when sure, she dumped him in the boat.

[June Diane Raphael]

What if there is no id?

[Jason Mantzoukas]

Well, we thought it was interesting that you chose to represent it as, what if you and June were in an accident? You wanted to reconstruct June, not the opposite as is shattered.

[Paul Scheer]

I just needed to put it in a personal moment so she could understand the stakes that we're talking about. So she said to me that ID is very important. If the person couldn't speak and they were incredibly damaged, that they would rush them to the ER and do the best that they could, but it wouldn't be be about recreating to a face necessarily as much as it would be fixing what they could get done, but it would be about id. And then I said, what about amnesia? And she said that for amnesia to be a viable part of this, the person would have to have gone through a court system, and you'd have to be legally given guardianship of the person to make those decisions for your person that you are you.

[Jason Mantzoukas]

You asked her, what are those forms and how can I get them?

[Paul Scheer]

I have her setting up. I have her sending me a docusign. So I'm gonna take a look at that and just do that right now.

[Jason Mantzoukas]

Like a Dateline episode.

[Paul Scheer]

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[June Diane Raphael]

You know, by the way, I do think this is. Here's a couple things that I think are coming out of this that actually are important and maybe important for all of us to listen to. I don't carry my ID on me at all times.

[Paul Scheer]

Sure. June, you barely are able to keep your wallet unlost for more than two months.

[June Diane Raphael]

I know. I have trouble keeping those things together.

[Paul Scheer]

So much so that you take my keys, and then my keys go lost for a long period of time.

[June Diane Raphael]

That's right. Now, Paul would remember when you. You literally, I don't think, have forgiven me for when I lost the keys to your rental car and we couldn't return it.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

What did you have to do?

[Paul Scheer]

Oh, Jason. All right, so let me just paint the picture here.

[Jason Mantzoukas]

Are you still renting the car?

[Paul Scheer]

Well, I rented a car because my car is in the street.

[June Diane Raphael]

I didn't have to buy it.

[Jason Mantzoukas]

It was. So we've been renting a car for 11 years.

[Paul Scheer]

We rented a car, and June says to me. My wonderful wife says to me. She says, I'm gonna go get us coffee. So I said, great. She said, I'll take the rental car. I said, perfect.

[June Diane Raphael]

That's what was so confusing.

[Paul Scheer]

She goes down the block. That. Goes down to the coffee store down the block. And then I get a call five minutes later, and she says, I lost the rental keys. I can't get back in the car. I'm like, wait, wait. What do you mean you lost the rental keys? You just left. You just drove there. You just got out. What happened? Oh, my gosh. I lost them. And I'm like, what do you. Have you looked around the parking lot? Yes. They're nowhere. So the car was sitting in the coffee store's parking lot, unable to be accessed. And it was one of those things. And this is an issue I have with rental car companies. They put both keys on the same.

[Jason Mantzoukas]

Thing, and you can't separate them.

[Paul Scheer]

You can't separate them. So it's like, you're gonna lose both keys.

[Jason Mantzoukas]

Yeah.

[Paul Scheer]

At. If you're gonna lose them, you're gonna lose them. And the keys were not in the car. She was gonna lock the keys.

[Jason Mantzoukas]

Did they.

[Paul Scheer]

In the car? No, they were lost. They were never found. They were a big, chunky, like, you know, Hertz rental car. It wasn't like, what did you have to do? There was a lot of paperwork to fill out.

[Jason Mantzoukas]

And, like, did they have to come and tow it away?

[Paul Scheer]

Well, at a certain point. Well, we released our. Our liability was released. I believe that it's one of those moments where I was very thankful that I took out the insurance, because it was like, hey, we lost the keys to the car, and they're like, well, you have the insurance and it's like, that's it. Don't worry about it. We got it from here. So.

[Jason Mantzoukas]

Wow, that's an interesting. Yeah, I guess that's for you guys knowing that that is like a regular part of your lives. Losing keys. The insurance makes sense.

[June Diane Raphael]

Anyway, so.

[Paul Scheer]

Anyway, so my mom. So my mom is positive that it would be impossible, but if the damage was so severe, they could have rushed him into surgery. Now what I'm realizing is I thought that because I figured out the twist early on, that Greta Saatchi had planned this entire thing ahead of time. But it seems to me she was running like she was going on the.

[June Diane Raphael]

Fly, making some game time decisions and they were life changing.

[Jason Mantzoukas]

And by the way, she got really close, close to pulling it off for sure.

[June Diane Raphael]

And I'm like, I kind of blame that doctor.

[Paul Scheer]

Well, because they rushed, okay? They. They rushed to make some choices. And look, a couple times in this.

[June Diane Raphael]

She made some assumptions even that that was her husband.

[Jason Mantzoukas]

Sure.

[Paul Scheer]

I mean, you're right.

[Jason Mantzoukas]

Yeah. No, it's true. I mean, like he, he was wrong.

[Paul Scheer]

He.

[Jason Mantzoukas]

He should have gone a little bit farther. Yes, exactly.

[June Diane Raphael]

You know, there was the Pat. The passenger you were with. Why would he assume that that was her husband?

[Jason Mantzoukas]

Well, there was and there was. There was a lot of confusion in the. Because everybody, it turns out everybody's cheating with other people in the movie. Well, yeah, I mean, you know, Tom Beringer's character is also having an affair with Corbin Bernson's wife, played by Joanne Wally Killer.

[Paul Scheer]

Can we just expand our grouping of friends? Everyone's fucking each other's wives. It just seems like it's gonna be bound for. For issues.

[June Diane Raphael]

And I listen the rich people in the 90s and the early 90s, like that was the thing in San Francisco, bro. In San Francisco.

[Paul Scheer]

Francisco. Gotta get in there. I gotta have Corbin Berenson's wife. By the way, is this a prequel to Major League? I was wondering about. Or maybe it's a postal.

[Jason Mantzoukas]

Yeah, what was the one with John Lithgow that I think was also set in San Francisco?

[Paul Scheer]

Oh, that's Denzel Washington. One where he gives him.

[Jason Mantzoukas]

There's Pacific Heights, which is San Francisco.

[Paul Scheer]

That's Michael.

[Jason Mantzoukas]

A lot of San Francisco was in. A lot of erotic thrillers were set in San Francisco for some reason.

[June Diane Raphael]

It's interesting because it was in San Francisco before. Like the tech boom.

[Jason Mantzoukas]

Exactly.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

This is like Silicon Valley Marina work.

[Paul Scheer]

This is another one of those weird professions in a movie. They were in Marina. They were in the marina business. So much so that when Tom.

[Jason Mantzoukas]

They were building, they were building, like, condos, and they were building on the wall on the marina they were using. That was, like, their site that they were going to.

[Paul Scheer]

Okay, so they were. They were a building place.

[Jason Mantzoukas]

They were a build. Yeah, they were like. I don't know. Developers.

[June Diane Raphael]

Developers. But they. Paul is right. That they. This was such a weird fucking thing that they had this boat that was housing all of their toxic material.

[Jason Mantzoukas]

Toxic waste boat that they keep wading through.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

I was like, why would you wade through the toxic wastewater?

[Paul Scheer]

And at certain points, they're covering their nose. Like, the smell is so bad. But the final act, everyone's not covering their face at all.

[Jason Mantzoukas]

Bob Hoskins goes under this. I want to. Oh, also, I want to. PSA needs to happen here. Bob Hoskins goes underwater. He's repeatedly using an asthma inhaler throughout the movie.

[Paul Scheer]

Bob Hoskins, a brutal British New Yorker.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

This accent, which you get like insane moments like this.

[Jason Mantzoukas]

You see, Mr. Murray, my guess is that you killed him the night I sent you the pictures, the night you had the accident. My guess is your wife's been covering up for you all along. And my guess is Jenny Scott somehow.

[Paul Scheer]

Put the pieces together and was threatening.

[Jason Mantzoukas]

To go to the cops. I didn't kill Jenny. What about Stanton? Maybe I did.

[Paul Scheer]

Maybe that's the block that the doctors are talking about. Maybe I'm a raving psychopath, but I.

[Jason Mantzoukas]

Can'T remember so good. But he. He goes underwater, and he's shot. He goes underwater. He seems to drown. Okay.

[Paul Scheer]

Yes. And then he's underwater for a long time.

[Jason Mantzoukas]

He's underwater for so long. Then he arrives deus ex machina style to save the day. To save. Not Tom Beringer. Tom Beringer's life. And he said. And he's like, how did you survive? And he's like, you know what? I had my own supp. And he holds up his asthma inhaler as if it's a scuba tank that provides oxygen that allowed him to breathe underwater. And that is not how an asthma inhaler works.

[June Diane Raphael]

You're not getting somebody who uses an asthma inhaler.

[Jason Mantzoukas]

Same.

[June Diane Raphael]

Okay. Like, it doesn't. It. There's no oxygen in there.

[Jason Mantzoukas]

It's no. It's. It's a. It's a. It's a medication. It's usually a bronchodilator, which is opening up your airways, which would make him.

[Paul Scheer]

Actually more susceptible, I think, to dying. Yes, but by the way, he's Also, he's also shot in the arm. His re. Like, his ability to get back in the game is quick. He gets shot, he goes underwater. He almost drowns. He gets out of the boat. He gets himself repaired, gets in a hell. By the way, the cops are like, come with us. We need you in the helicopter, too. I have no idea why he's in the helicopter at the end.

[Jason Mantzoukas]

I mean, it's like they're pulling police helicopter must go and pick him up. And. And. And Tom Beringer and Greta, Scotty have. Or Scotchy or whatever, have only driven just up the hill a bit. Well, I mean, so much has happened in Bob Hoskins's timeline compared to what's happened in theirs.

[Paul Scheer]

And by the way, can I just say something about this movie, the lax nature of this movie in. In. In their laws. Because first of all, they were drunk driving. At no point does anyone hold them accountable. It's like, oh, yeah, yeah. Well, you were driving because it's New Year's. You were drunk. I mean, of course, like, it's like, that's.

[Jason Mantzoukas]

There's no judgment.

[Paul Scheer]

There's no crime on.

[Jason Mantzoukas]

It is just fact.

[Paul Scheer]

And when Tom Barringer gets out of the hospital, the first scene that we see of them driving back into San Francisco, and he is clearly out of his seat without a fucking seatbelt on, kissing Greta, I'm like, dude, you just got into a horrible car accident. Put the seatbelt on.

[Jason Mantzoukas]

Also, you have amnesia. He seems. He goes to the office. He's trying to do work. The guy you have, that would. That would destroy you. I think this is the thing.

[Paul Scheer]

These people, like Corbin Bernstein, his best friend, is like, let me go talk to Jack in the other room. He goes, all right, Jack, we gotta talk about this. Marina.

[Jason Mantzoukas]

It's like, this man, he has no idea what's happening.

[Paul Scheer]

He doesn't know who you are.

[Jason Mantzoukas]

Corbin Burns. Like, you've been doing some pretty good work in here. What. What work? What's he been doing?

[June Diane Raphael]

Here's the thing that I had to, at the end, look back and think, which was, did Jack always kind of want this man's life?

[Paul Scheer]

I think that Jack wanted him to. I think he wanted to edge him out of the business because he knew he was fucking his wife.

[Jason Mantzoukas]

Oh, you mean Corbin Burnson.

[Paul Scheer]

Yeah. Oh, yeah, sorry. I think that Corbin Burnson wanted to edge him out.

[June Diane Raphael]

Talking about. What's the name of the.

[Paul Scheer]

No, no, you're right.

[Jason Mantzoukas]

You're right.

[Paul Scheer]

Oh, Jack Stanton.

[Jason Mantzoukas]

Jack Stanton.

[Paul Scheer]

Oh, Jack Stanton is.

[Jason Mantzoukas]

Okay, so, Greta, I think Jack Stanton Just wanted to be with Tom Behringer's wife.

[June Diane Raphael]

That's interesting, because then Jack Stanton is kind of a savant. Like, how was he able to do this?

[Jason Mantzoukas]

That's what I was saying.

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Like, he's going to the office, he's doing some work that Corbin Bernstein is impressed by. This guy is a. Like a fake. He's not really Tom Berenson.

[June Diane Raphael]

What did Jack Stanton do in his own life?

[Jason Mantzoukas]

He's successful because he drives a Porsche, but we don't, obviously.

[Paul Scheer]

Maybe he's like a sugar. Like, maybe he's like. Like a side guy. Like, just wealthy women, like, give him money to. Like a Midnight Cowboy. You know, he's just sort of a. But there is something about wonder.

[Jason Mantzoukas]

We never did get information about Jack Stanton's, like, actual life. Like, no. And that's like. I wish this movie explored a little bit. Like, who's Jack Stanton's family? Anybody? No, I guess not.

[Paul Scheer]

He. Literally.

[June Diane Raphael]

But he's looking for him.

[Paul Scheer]

He.

[June Diane Raphael]

He.

[Paul Scheer]

Well, he sends a fax. I got that job in Japan. To who did he send that?

[June Diane Raphael]

To someone named Paul.

[Paul Scheer]

To Paul.

[Jason Mantzoukas]

To his boss at whatever business he worked at.

[Paul Scheer]

Well, then my question is okay to you. Oh, I got it. You know what? I should have returned that fax. Oh, wait. The fax machine moment. When that is revealed that there was a fax sent from his office. Tom Beringer, who's already been breaking mirrors and glass throughout the whole movie, picks up this fax machine. That is the only bit of clue and information that they have that something is up. Takes it, lifts it over his head, and then throws it out of a window of a skyscraper, which is so dangerous. So dangerous. That window breaks open easily. They show that it just crashes. Like on a lower level landing, but still.

[June Diane Raphael]

Yeah.

[Paul Scheer]

Why. Why the anger on the fax machine? Why the anger on the fax machine?

[June Diane Raphael]

Well, here's the thing. This is what I really didn't understand. If I'm. If I'm this woman and I know that I killed my husband and that my lover, I've replaced. I've changed my lover's face so that I can be protected and so that we can be together. I guess I just didn't understand why she wouldn't tell him. Like, why go through witnessing him trying to understand who he is and take that risk? Why let him invite him in?

[Jason Mantzoukas]

Why? Well, so what you're asking is really interesting because it's a. It's a kind of a central flaw of the movie. But it. But the movie wouldn't exist without it. Which is she is trying to convince him that he's Tom Behringer.

[Paul Scheer]

Right.

[Jason Mantzoukas]

But it must be terrified. If his memories were to return, he would remember he is Jack Stanton. What she should doing is saying, you're Jack Stanton and trying to get him to remember their love and their relationship and.

[June Diane Raphael]

Right.

[Paul Scheer]

She would have to reveal that she's a murderer because she shot her husband. Greta Sachi shot sense though.

[June Diane Raphael]

Like that's the thing. He was, he, it seemed like he was going to kill her.

[Jason Mantzoukas]

Yeah, no, he's, he's really being, he's.

[Paul Scheer]

Do we know that Tom Behringer is a bad guy? I guess that's the question. Do we know? Okay, he is a bad guy.

[Jason Mantzoukas]

We do. We do.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

It's, it's, it's kind of stated a couple of times in. Then it's shown in one of the flashbacks. He's like a, he's a, he's a real piece of. Which helps you understand why Corbin Burnson and Joanne W. Kilmer and all those people were like, oh, yeah, you were a shitty husband. You were a bad guy. You were this, you were that.

[Paul Scheer]

Joanne Wy Kilmer is having an affair with him. So she couldn't think he's that shitty because they were going to get married and run away. They were in, they were in love.

[Jason Mantzoukas]

But the thing that Jack Stanton says to Greta Scotchi in the car is, is we, I, we, I, I'm not going to do this. We got to go to the police. I have to tell the police, you know, and that's when like he's definitively like, I'm not going to help you get away with this.

[Paul Scheer]

Right.

[June Diane Raphael]

And that's when she drives him off the road.

[Paul Scheer]

Correct. And, and so I think that what she's trying to do, because she's such a liar, because we've set that up too, that Greta Sachi is like a big time liar. And that she's always making up stories that I think that she thought she could have her cake and eat a tush, which is. I could, I can remake the husband that I want with the great sex that makes me think I'm crashing waves. Which I found to be a very odd representation of sex.

[Jason Mantzoukas]

Crashing waves and breaking glass.

[Paul Scheer]

Yeah. So bizarre. So. But she didn't, she didn't realize that Jack would get suspicious. And as it's revealed here, I saw both you go in that hotel. You saw me go in. I got changed and then I went.

[D]

Out the back door where I had the Porsche parked.

[Jason Mantzoukas]

You dress up like Stanton and you almost killed me. Now you're telling me that I killed Stanton?

[Paul Scheer]

Wait a minute. Before the accident, that's what you said? Yeah.

[Jason Mantzoukas]

Fucking liar. Jack Stanton was alive and well and.

[Paul Scheer]

In my office, sending up facts five.

[Jason Mantzoukas]

Hours after the accident.

[Paul Scheer]

That was me.

[June Diane Raphael]

I sent the fax to make believe Stanton was still alive. Why do you think I checked out.

[Paul Scheer]

Of the hospital so goddamn fast to start covering for you? But then you brought back Klein.

[June Diane Raphael]

Don't you see?

[Paul Scheer]

You hired someone to find out that you're a murderer. You hired somebody to send you to the gas chamber. That's right. He hired a PI to find out that he. He hired a PI and this unraveled the whole thing. Bob Hoskins, really the hero of the story and.

[Jason Mantzoukas]

And a great character. You know what I mean? Like, he owns a pet store, but he's a private investigator. Like, I loved all of this character work because everybody else is so like, you know, oh, we work in a skyscraper, we drive Porsches, blah, blah, blah. He's a real, like, street level, down and dirty, kind of like, yeah, I'm a P.I. i drive this car. I work. I got. I kiss a snake. Like, it's really. I really liked him.

[Paul Scheer]

But how did. All right, so then. So then. Then in this world, Tom Behringer hired him. So Tom Barringer found him.

[Jason Mantzoukas]

Yes.

[Paul Scheer]

God knows how to find. To get information. All right, so I just want to lay out the plot. Tom Barringer hires a private eye to get definitive proof that his wife is cheating on him. Because he wants to leave his wife and marry Corbin Berenson's wife.

[Jason Mantzoukas]

No, I don't think so.

[Paul Scheer]

Okay. But he's definitely getting information on her because. Why? Why?

[June Diane Raphael]

Well, I think because he doesn't understand.

[Jason Mantzoukas]

Cheating on him.

[June Diane Raphael]

Yeah. And he saw those photos and stuff, but I don't think that he.

[Paul Scheer]

But those photos.

[Jason Mantzoukas]

The original. He's talking about the original. The real Tom.

[Paul Scheer]

The real Tom Behringer.

[Jason Mantzoukas]

The real Tom Behringer. Not the.

[Paul Scheer]

That's what I'm saying. Yeah. The real. The Tom Baringer shot in the past. Yeah. So the original Tom Behringer, who is dead or in that tank in the toxic waste and seemingly is doing fine, like his body is.

[Jason Mantzoukas]

Bob Hoskins says, little did they know it was formaldehyde. So it's going to keep. It's going to preserve.

[Paul Scheer]

It's not going to break down the formaldehyde boat. Like, I love that. That.

[Jason Mantzoukas]

Oh, you know, the old formaldehyde boat. That's good. That's that's sinking up.

[June Diane Raphael]

Why would formaldehyde be in their materials even?

[Jason Mantzoukas]

Who knows?

[June Diane Raphael]

Like. Yeah, I mean, that much of it.

[Paul Scheer]

I mean, the fact that they had to dub this man's voice. So basically, we also are saying that Jack. Jack Stanton and Tom Behringer both had the same voice and they looked alike. So it's also like, she definitely had a type. But I believe that he was trying to get her out of the picture by proving that she was cheating on him. But then he comes home on New Year's Eve and he's like, you bitch. You bitch. You're cheating on me. So he just saw the pictures. He confronts her about the pictures, and then she calls Jack Stanton, who is at Corbin Bernson's party. But they didn't seem like. Were they at Corbin Bernson's party too?

[Jason Mantzoukas]

No, I think he was at. Didn't he say he was at the Hacienda or the hotel?

[Paul Scheer]

But Corbin Burns.

[June Diane Raphael]

He was at the Hacienda, but Jack.

[Paul Scheer]

Stanton was at the party. Because when they cut to him, he's on the. He's.

[June Diane Raphael]

The backdrop is a little insane.

[Jason Mantzoukas]

I'm not sure. I don't think he's at Corbin Bernson's party, though.

[Paul Scheer]

You don't think so? I thought that's okay. So the Hacienda is having a big party. Then maybe that's what it is, because.

[Jason Mantzoukas]

It'S New Year's Eve.

[Paul Scheer]

Got it.

[Jason Mantzoukas]

Regardless.

[Paul Scheer]

And we know it's New Year's Eve because in the date book. In the date book, Tom Beringer writes, remember to get champagne for New Year's Eve. Remember to get champagne. So he's mad at his wife for cheating on him. So. So he's confronting her. She shoots him. So basically, she shoots him because he's mad at her because she's cheating. But I think that, like, I think. I think what you're meant to believe. I believe is that she shot him a little too quickly. And that's why Jack Stanton is not a little too quickly, because I think I'm.

[Jason Mantzoukas]

Stay out of this.

[Paul Scheer]

Hold on. Well, my thought is this. And I think this is the crux of the movie.

[June Diane Raphael]

Is that too quickly.

[Paul Scheer]

I think that. I think that Tom Behringer is yelling at her and screaming at her. And he's like, I oughta against the.

[June Diane Raphael]

He throws her into the slaps night table.

[Jason Mantzoukas]

He slaps her. He's confronting. And they're. They talk.

[Paul Scheer]

Okay. All right. So my. My theory falls apart. I forgot.

[Jason Mantzoukas]

And the Corbin Burnson dinner.

[June Diane Raphael]

Would you like her to be unrecognizable. Well, she picks up a gun and tries to defend herself.

[Paul Scheer]

She. But. But why didn't Jack stand and go, well, he was attacking you. I got your back. Like, let's. Let's figure this. She's like, her immediate thing is. Like, her immediate thing is let's. Let's bury him in the boat. Because if they don't crash, there's no plan where the boat. Like, what's the plan if they don't crash the car?

[Jason Mantzoukas]

That's the. Yeah, that's the question is they get rid of the body. But Jack Stanton is still saying, we got to call the police. I got to go to the police. I can't do. Do this. But what I couldn't figure out was Tom Behringer seemed to be an abusive. Like a nasty character. So why not call the police and say it was self defense? Well, that's what I'm saying.

[Paul Scheer]

Well, that's like. That's the issue that I'm trying to get even.

[Jason Mantzoukas]

Jack Stanton would probably back her up, you know, from what he saw.

[Paul Scheer]

Well, that's what I'm saying. Like, he was attacking her. I walked in on it. She shot him. I was here. I saw the whole thing. But he doesn't do that. Instead, he helps her hide the body. And at that point he's like, we gotta. Like, there are so many. Like, this is the craziest moment. Because even if he went along, say he goes along with the plan. Yes. We're gonna hide the body. Let's go to the ship. Let's go hide the body. They hide the body in the ship. Then the plan is what, he's just disappeared?

[Jason Mantzoukas]

Well, the movie would make sense if it was like, okay, then, you know, we're gonna get you in an accident. We're gonna make you look like him. Right. And then, yeah, Jack Stanton will die.

[Paul Scheer]

And we have all this money. You sell the business.

[Jason Mantzoukas]

You will be rich. I will. We will. And we will live happily ever after. That would seem to be like a plan they both would have. So the, The. The fact that it is. They are in disagreement, and then the disagreement turns into a tussle, and then they drive off the edge. She seems to be making the plan up as she goes.

[June Diane Raphael]

Very much so. I mean, what do you think that the party guests at the hacienda must have thought when she walked in with her Jack Stanton wig on?

[Jason Mantzoukas]

Yes. And leather jacket.

[June Diane Raphael]

And leather jacket. And walked through the lobby and I gu. She was flailing about. She was in a free Fall this entire time. We didn't know it, but she was freaking the fuck out.

[Jason Mantzoukas]

I wish the movie had been told from her point of view. I wish there was a sequel that was just told from her point because she walks in.

[Paul Scheer]

She walks in to. Huh. She walks into the hacienda as herself, I guess, rents a room, quickly changes, and then walks out through the back door with that wig, which is a great looking wig. And I mean, when she takes off that wig, it is. What a great review.

[June Diane Raphael]

She comes back in with the wig on.

[Paul Scheer]

Yes. She goes back into the house with the wig on. But here's my question, too. When she said, I'm Jack Stanton, I'm calling you, she doesn't immediately think it's like Paul or somebody else trying to black. Like, does she think that someone's trying to blackmail or does she think that they didn't do the job because she knows Jack.

[Jason Mantzoukas]

No, she knows.

[June Diane Raphael]

No, she did that on purpose. No, she's doing that on purpose to throw him off. And the private investigator.

[Paul Scheer]

Okay, got it. Okay.

[Jason Mantzoukas]

Yeah, yeah, yeah.

[Paul Scheer]

Okay, okay, okay, okay. Wow. Okay, now I'm getting a lot of it.

[June Diane Raphael]

We're getting a little shattered.

[Paul Scheer]

Hey, everybody, just wanted to give you a quick heads up here. There's something we should all be doing. It's going to improve your life, make every day a little bit better. And that is Eat more Reese's Peanut Butter Cups. Yes. Think about it. All the gurus, all the coaches out there, they've never said the word words, Eat more Reese's. I mean, that combination of sweet chocolate and salty peanut butter, I mean, this is something that brings other people and ourselves joy. That's why there's two in a pack shop. Reese's Peanut Butter Cups now at a store near you found wherever candy is sold and often in my pantry, because I love these. You ever have one of those days we're just like, oh, I haven't showered. I'm just going to run out and maybe do that thing where. Where you kind of sniff at your pit. You're like, yeah, I don't smell or oof, pretty ripe. Sure, the pits is an odor zone, but there's more than one. I think we all know there's other odor zones. And how do you keep those other zones smelling fresh, maybe when you're not even being that fresh? Well, I'm going to tell you, you can keep every zone covered with the ultimate odor defensive player. I'm talking about Dove Men plus Care Whole Body Doc spray, which keeps you smelling fresh and feeling Confident. No matter what your day brings, you can tackle your whole body with Dove Men plus Care Whole Body Dio spray. Dove Men Whole Body Dio defends against all your odor zones from pits to privates to even feet. With long lasting 72 hour odor protection. You will be covered from morning kickoff through triple overtime. Dove Men Whole Body D goes on instantly dry with an aluminum free vitamin E infused formula. People tighten up the defense against those odor zones this season. Find Doveman Whole Body Dio at Walmart today. Today's show is sponsored by BetterHelp. You know, who is your support system? You know, how have they changed your life? Think about that. You know, maybe there's a time when you need needed support from someone, something that you couldn't get over by yourself. It was a friend, a therapist, whoever it was, think about how they helped you. Then think about your favorite leaders, mentors and idols. Right? They don't always have all the answers, but they do know when to ask questions or seek support from their community. And you know, therapy can be a source of support for any area in your life. Now BetterHelp is fully online, making therapy affordable and convenient. Serving over 5 million people, people worldwide. You can access a diverse network of more than 30,000 credentialed therapists with a wide range of specialties. And you can easily switch therapists at any time for no cost. Build your support system with BetterHelp. Visit betterhelp.combonkers to get 10% off your first month. That's BetterHelp. H E L p.combonkers I will say that there's a great quote from Greta Sacchi. I guess, you know, she said, you know, she had a breakthrough role and he and Dust. And she kind of earned a reputation for being relaxed about on screen nudity. Cause she has been naked in a handful of movies. And she said, with this movie, I just kind of reached my max. There I was in missionary position with like the sixth famous actor in six months on top of me. It was like Harrison Ford, Vincent D'Onofrio, Jimmy Smits, now Tom Barringer. And I'm like, I can't do this anymore. And so that was the end. And she was like, I'm done. I'm done being naked on screen. This movie broke Joker.

[Jason Mantzoukas]

And just because I'm sure people have been screaming at us, I looked it up. It is Greta Skaki.

[Paul Scheer]

Skaki. Yeah.

[June Diane Raphael]

Okay.

[Paul Scheer]

Anyway, so I just thought that was a funny quote from her to be like, yeah, she just got in this rut of just like, who Is this man on top of me? Again, like, no thanks. No, thank you.

[Jason Mantzoukas]

Well, and that's the thing is like all of these erotic thrillers, like they had sex scenes in them and they had, like we watched. What do we watch? Jade.

[Paul Scheer]

Yeah. Is that what we did? Yeah. Yeah. Which is similar to this.

[Jason Mantzoukas]

Yeah. Which has similar vibes and similar, like powerful men being terrible to women and. And all of the rest, you know, and this one is. And they all somehow are set in San Francisco.

[Paul Scheer]

And here's the other thing.

[Jason Mantzoukas]

Very strange.

[Paul Scheer]

I'm just going to say that San Francisco obviously known for its very interesting streets and architecture and like, and, and from a car standpoint, a great place for a car chase. Where do they, where do they do a chase?

[Jason Mantzoukas]

Inside drives, you know, like, it's pretty.

[Paul Scheer]

But where do they do their car chase? In this. In the redwood forest. Like there is like a Porsche jumping over bushes. Like they are. They are doing a two person car chase in the forest. Like it looks like out of Swing, out of Return of the Jedi. Like just running around through redwoods. It's so weird. And then she also shoots at him and then explains that away is like. Well, I didn't mean. I wasn't going to really shoot at you.

[June Diane Raphael]

She's just trying to scare him.

[Paul Scheer]

Just trying to scare him.

[June Diane Raphael]

Well, here is Sleeping with the Enemy also in.

[Paul Scheer]

This is all in the same little zone. Yeah.

[Jason Mantzoukas]

I don't know if it's San Francisco. I feel like that might be like the Pacific Northwest or something.

[Paul Scheer]

I feel like everyone's leaving San Francisco or going to, you know, San Francisco. Yeah. I mean, my gosh, I, I will say that this movie gets a B plus audience score.

[June Diane Raphael]

I'm gonna say something. We haven't really talked about it, but.

[Jason Mantzoukas]

Yeah, Sleeping with the Enemy, Cape Cod to. I.

[June Diane Raphael]

Okay. I did not hate this movie.

[Paul Scheer]

No, I liked it.

[June Diane Raphael]

No, no, I enjoyed the watch. So I, you know, I don't know.

[Paul Scheer]

If I enjoyed it like as a film film or I enjoyed it for this, but it was like of all the movies that we watched, it was. There was an energy, there's a pulse to it that was different that I enjoyed.

[June Diane Raphael]

That made me nostalgic for the movies of this time.

[Jason Mantzoukas]

That's literally what I was just gonna say. I was like, I. I don't know that I enjoyed this as much as it triggered an enjoyable. No.

[June Diane Raphael]

Yeah, like, I actually think tonight I might want to watch Sleeping with the Enemy.

[Jason Mantzoukas]

Well, like, there are better movies in this. In the. There are better movies in this category. We Named A Handful, Jagged Body Heat, that are so good and that are so fantastic that this is just an echo of those and still, still is fun to watch. But this movie, really, unless you figure out, or until you fig. Until you are told the twist, the movie is purposefully confusing.

[June Diane Raphael]

Yes.

[Jason Mantzoukas]

Well, you know, I mean, it is, it is constantly trying to confuse you so that you won't figure it out, which at times is annoying.

[Paul Scheer]

And, well, they basically are like, she's a liar, he's abusive, you're having an affair. Your hands are different, you're over here, you're wearing a wig. We're going over here. I mistook that you're here. Like, I have an accent. I'm a New Yorker. I'm wearing such a New York hat, but I have a British accent. What? Like there's like that New Yorker accent I still can't get over.

[Jason Mantzoukas]

It's. Yeah, I mean, like he, you know, Bob Hoskins, the master of accents, as we saw in Mario Super Mario. My favorite was when Tom Behringer goes to the office for the first time. He again has full blown amnesia.

[June Diane Raphael]

Yeah.

[Jason Mantzoukas]

And his assistant brings him coffee and she says, you know, coffee with two Splenda or whatever. She says, I can't. Too sweet low. Something like that. And he goes, hey, did you and me ever go to the Hacienda Hotel.

[Paul Scheer]

When he says that?

[Jason Mantzoukas]

Asking his assistant if they had an affair? Upon his return to the office with amnesia, he's like, I just need to get up to speed because I have amnesia. Did we have an affair?

[Paul Scheer]

When, when he said that to her, by the way, I wanted to call it that.

[Jason Mantzoukas]

The look on her face is like.

[June Diane Raphael]

Buddy, no, I loved her, by the way. I love her hair. I wish more women, more white ladies wore their full curls like their Carol Kane curls. I just. We don't see that anymore.

[Jason Mantzoukas]

No, but I will say this.

[June Diane Raphael]

Not seeing it, I will say this.

[Paul Scheer]

And this is. I'm going to put on the shoulders of Wolfgang Peterson. They made her give so many weird glances. And like, you felt like at one point she was going, I gotta tell you the truth. This is what's going on. Because she is constantly looking like, oh, I hope he doesn't find out. Or oh, this is awkward.

[June Diane Raphael]

But she's interacting with a totally different person.

[Paul Scheer]

But she's also looking at scenes like, huh, who is this? What's going on? She is the most suspicious, but yet has no reveal at all. She doesn't add any piece to the equation at all.

[Jason Mantzoukas]

Besides, nor does Corbin Burnson. Corbin Burnson does not return in the second half of the movie.

[Paul Scheer]

No, Corbin Bernson does. My favorite, and I think it was a mixture of two cuts. But when he is reviewing his work, he's sitting at Tom Beringer's desk. He looks at his work, he takes off his glasses, throws them on the desk, gets up and goes, oh, you did good work here. It's like, wait, so were you using Tom Beringer's glasses or are those glasses for such effect that you have then, like, let me go back and get my glasses.

[June Diane Raphael]

Now I have a pair of reading.

[Jason Mantzoukas]

Glasses, so they're just punctuation glasses, which.

[Paul Scheer]

Is my favorite thing. Every time you see an attractive man in a movie, a leading man wearing glasses, that thing is like a. It is a prop among props, like the original Tron. Bruce Boxleitner, like the what. What he does with those glass.

[Jason Mantzoukas]

It's like he's doing who made the Wrestler Aronofsky.

[Paul Scheer]

Yes.

[Jason Mantzoukas]

He. He said that every day Mickey Rourke would try and wear glasses. He would pull glasses out of his pocket and try and do business with glasses. And. And he would have to stop him and tell wardrobe, him have glasses. He, every day, was trying to insert glasses constantly. And business with the glasses and the glasses, and it was like a whole. He was like. Most of my job on this movie was trying to wrangle glasses out of Mickey Rourke's hands.

[Paul Scheer]

It's so funny to me. It's like. It also, like, to me feels like it's. I. I just love. I love an attractive man wrestling with glasses. I just love it.

[June Diane Raphael]

I have to say, you know, you're right, Jason, about the feeling of amnesia. And I. I believe that there's no finer actor playing that than Harrison Ford. Because what Harrison Ford does is.

[Paul Scheer]

Well, does he have amnesia or does he have a mental trauma?

[June Diane Raphael]

Well, regarding Henry, he has amnesia.

[Jason Mantzoukas]

Well, he has amnesia from. Similarly, from a. From a traumatic event.

[Paul Scheer]

Oh, I thought he. I thought he had brain damage.

[June Diane Raphael]

Well, well, in regarding Henry, he goes into a convenience store and he's shot during, like, a robbery.

[Paul Scheer]

Yes.

[June Diane Raphael]

And he wakes up and is a completely. Well, he's a different person, but he doesn't remember who he was, doesn't remember his wife, doesn't remember his daughter. The whole movie is about, like, both.

[Paul Scheer]

Remember he has retrograde amnesia. Yeah, it's a different.

[June Diane Raphael]

Yeah.

[Paul Scheer]

But, yeah, no, of course I'm not. I'm not.

[June Diane Raphael]

What's the difference. What are you parsing out here? The difference between, like, amnesia.

[Jason Mantzoukas]

I'm just going to I'm just going to leave meeting.

[Paul Scheer]

I know, I just need to joking that like there's all these different, like. I'm just saying that like Tom Behringer has. Has psychogenic amnesia. He has retrograde amnesia.

[June Diane Raphael]

Wait, what is psychogenic amnesia?

[Paul Scheer]

That's, I think, remembering how to do everything, but not everybody. Whereas I think, oh, so he knows.

[June Diane Raphael]

How to do well, he should. He doesn't know how to do well now he knows how to do things he never did.

[Paul Scheer]

He knows how to drive.

[Jason Mantzoukas]

He knows. Knows how to whatever.

[Paul Scheer]

Where Harrison Ford can neither move nor talk and he has to relearn everything. So he's almost childlike and so he, he's kind of re. Like it's a slightly different amnesia, that's all. A more intense amnesia.

[Jason Mantzoukas]

Can we, can we call Paul's mom again and get her to really break down amnesia for us?

[Paul Scheer]

All right. The symptoms are memory loss of a certain time periods, events and people and personal information. A sense of being detached from yourself and your emotions. Perception that the people and things around you are as distorted and unreal. A blurred sense of reality. So that's. That makes sense for Tom Barringer's character.

[June Diane Raphael]

Well, I guess my point was like Tom Barringer as an actor to me now I don't really know what Jack was like, so maybe this was like an Oscar winning performance. But what I love about Harrison Ford's work is like you get him, you see him coming to terms with like not knowing who he is and what he is and, and it's just so compelling to watch. And it would have been a different movie in Harrison Ford's hands.

[Jason Mantzoukas]

Well, it's also a different movie regarding Henry as a melodrama, you know, I mean, it's not a mystery kind of.

[June Diane Raphael]

Blankness to Tom, this movie. Yes, to the performance.

[Jason Mantzoukas]

Well, Tom Behringer is almost without. He's kind of like, he has no personality inside of. He's kind of a cipher inside of the movie. Even though his only job is to continue to try and solve the case. He doesn't really have a point.

[Paul Scheer]

We don't know. Yeah, we don't know. Like, we just know that he's in love with his wife, but he's not. He doesn't have the youthful sense or the like he know. It's almost like he knows everything but.

[Jason Mantzoukas]

Who he is and doesn't have a personality.

[Paul Scheer]

Yes, I agree with that.

[Jason Mantzoukas]

Which is a hard thing for the lead character to be. Maybe this is, you know what I mean?

[Paul Scheer]

This is why Bruce Willis turns down the Role.

[Jason Mantzoukas]

I think the thing that's real is this is an era where there's a lot of amnesia in movies in this time. Like, and I couldn't tell you a movie currently that features someone having amnesia. No, you know what I mean? Like, it is, it's not a thing.

[Paul Scheer]

Okay, can I just tell you right.

[June Diane Raphael]

Now, by the way, it doesn't happen anymore.

[Paul Scheer]

Amnesia is rare. It affects 1% of men and 2.6% of women in the garden general population. How many people get amnesia yearly? It says almost not. Yes. 2 to 10 people per 100,000 is. That's the number per 100,000?

[June Diane Raphael]

Actually that's more than I would say a decent amount.

[Paul Scheer]

Yeah, that's globally and I'm assuming most.

[Jason Mantzoukas]

Almost all of this obviously is, is traumatic brain injuries. And you know, some of this must. People must come back much.

[Paul Scheer]

Most of them are head and brain injuries. Certain drugs, alcohol, traumatic events and conditions such as Alzheimer's disease.

[June Diane Raphael]

Well, listen, my, I remember when my mom was hit by a car and she had short term memory loss that was different from amnesia, but she couldn't. She worked at the same school for at that point 20 years and had the same commute. Remember how to get to school.

[Jason Mantzoukas]

Oh, wow.

[June Diane Raphael]

So it is very, very. Any, any head injury.

[Jason Mantzoukas]

Any head injury. Yeah, yeah, yeah. Can cause a whole slew of, of issues and that includes like strokes and anything like that, you know, can really affect, you know, your brain in ways that are, you know, shock. You know, people, people wake up out of strokes with the ability to like speak a language they couldn't speak before.

[Paul Scheer]

What about Mary. Mary Steenbergen who was able to. Mary Steenbergen able to compose music. She sees like music now after she had a, a brain issue.

[June Diane Raphael]

I didn't know that.

[Paul Scheer]

Oh yeah. Pretty amazing.

[Jason Mantzoukas]

She was, she became like incredibly, incredibly prolific. Able to play multiple instruments and has like us like literally a song in her head all the time.

[Paul Scheer]

Yeah.

[June Diane Raphael]

Oh my God.

[Jason Mantzoukas]

Something like that.

[Paul Scheer]

I, I will say that this movie came out three months after Regarding Henry. It is based on a novel.

[June Diane Raphael]

Harrison Ford probably couldn't do this.

[Paul Scheer]

Probably. There is a great. The Mike Nichols autobiography is absolutely fantastic and there's so many great stories, but Mike Nichols directed Regarding Henry and there's a great story here. He, he's having trouble with this movie, like trying to make it work and, and, and very openly getting frustrated at this film. There's a scene where Harrison Ford has people over his house and there's caviar on a tray and Mike Nichols is like, like no, that caviar is not. He's too rich to have. He would have better caviar than that. Shut down production sent his assistant to go get like $10,000 worth of caviar to then be brought around the set mainly for the extras. Because it's not any bit of a plot point. It's just like opening on. It's just a prop opening on like a waiter carrying a tray. And it was just sort of like a moment in that, that book where like we knew things were a little rough when he shut down production to get the right looking caviar that he spent $10,000.

[Jason Mantzoukas]

Like, talk about the wrong thing to be trying to fix.

[Paul Scheer]

But this is also that era and this is what it all feels like. This era of like. Yeah, yeah, yeah. Like this is, you know, it's like it's too much. It's too much. And I will say this, this movie is based on a book, a 1969 novel called the Plastic Nightmare, which I think is, I mean at the root of it, a great, great idea. Plastic surgery to take over, you know, someone else's life. I think that that's a great.

[Jason Mantzoukas]

Oh, it's a great thriller concept, you know, plus amnesia. This has got all of the ingredients of a great thriller. It's, it's, it's just really hard that the central character is so affectless and emotionless, you know, in a lot of ways, you know.

[Paul Scheer]

Well, obviously we had an opinion about this movie. There are people out there with a different opinion. It is now time for second opinions.

[Jason Mantzoukas]

Maybe that art is subjective. I need a second opinion.

[Paul Scheer]

All right Everybody, these are five star reviews pulled from Amazon. There are 533 total reviews on Amazon. 71% are five star reviews. Only 3% are one star reviews. And these movie reviews are great. From Jeffrey G. Delabare. He writes, I was gonna buy it on 114 2018. I love this movie. But I called my buddy Betty June. Haha. I wanted to show it to him because he knows it's a snake's name. He thought it was funny that his best friend had the same name as a snake. And then I looked and I said, haha, too much money. I can't afford $10. But for a very old movie, I want new stories. Will sell old DVDs for one or $2 or $3. So I'm just gonna buy it there.

[Jason Mantzoukas]

Oh boy.

[Paul Scheer]

Five out of five stars title. It's awesome. This one is written by Anne Stern. Ann Stern writes a suspenseful thriller, surprise ending. Don't watch it in the dark. Better not watch it alone. Enjoy it. A great tale of suspense. Five stars. I. I wouldn't say that this is a movie that you can't watch in the dark. There's nothing scary about this. Unless you've murdered your husband and he starts to figure out. Yeah, yeah. It's not like, like June, you often get afraid of very like, you know, like the things that you get afraid of are very specific to the murder that happened. It's not like a Jason Voorhees is running around town willy nilly murdering. Unless you've done something very wrong, you're pretty much in the clear.

[June Diane Raphael]

Yeah. There's no present danger, really, in this movie.

[Paul Scheer]

Yeah.

[Jason Mantzoukas]

Like, are you guys prepared? You know, like we talk about, like having like being prepared for certain things, having an earthquake kit, having like, you know, things available to you, you know, in case of emergency or whatever. Do you have any kind of amnesia kit? Something that will remind you who you are should you find yourself in the position of having amnesia? And is that something that we should have if June.

[Paul Scheer]

I think we should all put together.

[June Diane Raphael]

I mean, hasn't that been why we're recording this podcast?

[Paul Scheer]

Yeah, I have a bunch of things in June's amnesia kit to remind her of certain things.

[Jason Mantzoukas]

Yeah. Triggers.

[Paul Scheer]

Triggers. Yeah. So I have June. You don't even know about this, but these things will bring you. I have a Batman cosplay outfit. I'm gonna. If you come back from amnesia, I'm gonna create you into a super nerd. I'm gonna tell you. Just two more reviews. Cause they're really great. This one's written by bwj says all great actors. The story keeps you on the edge, not knowing who he is and why. Why is good writing. The Animal Keeper is great in his role. Very good. Shattered. Great movie. Five stars.

[Jason Mantzoukas]

The Animal Keeper.

[Paul Scheer]

Animal Keeper Detective. But this one is the one I really want to read from Dr. Jacques Coulardo.

[Jason Mantzoukas]

Ooh.

[Paul Scheer]

Dr. Jacques Coulardo wrote this in December 16th, ten days before or you know, nine days before Christmas 2005. A thriller based on the loss of memory after a car accident. Banal. The poor man who is trying to know what happened and is feeling something that is not what it should be, has it all wrong from the very start. And is the prisoner of the real killer who is ready to do anything to keep him. But is the loss of memory hiding the past of the man or the past of the murderer? That is the question. And that is where the plot is as thick as Smog till the very last minute or near. There is no hope for you to know the truth. And when you finally know, it becomes so hectic on screen that you don't even have the power or energy to scream and scream. You should. Signed Dr. Jacques Coulardo, University of Paris Dauphine. University of Paris Pantheon Sorbonne. Five stars. It thrills pretty much.

[Jason Mantzoukas]

Wow.

[June Diane Raphael]

Huh?

[Paul Scheer]

Dr. Jacques really Sorbonne. I mean, I know he said it's banal at first, but I guess he really got into it. I mean, that was it, really.

[Jason Mantzoukas]

What a ride.

[Paul Scheer]

And scream. You should.

[Jason Mantzoukas]

Wow.

[Paul Scheer]

Oh, wow.

[Jason Mantzoukas]

Okay.

[Paul Scheer]

Should our shirt for this movie just be. Who am I? I'm not me. Man, oh man, this movie so, so good. You know, it got it. It like I it 55 on the the audience score on Rotten Tomato. The budget was 22 million. The opening weekend it grossed 3.4 and then it made a worldwide gross of 11.5. The top three movies in 91, Terminator 2, Judgment Day, Robin Hood, Prince of Thieves, and Home Alone. This movie came in 102nd out of all the movies made in 1991. It was beaten by films that we've done on the podcast. Teenage Mut, Ninja Turtles 2, Secret of the Ooze. Look who's talking to Hudson Hawk. Highlander 2, Drop Dead Fred, which just came out on Vinegar Syndrome, which is a great website that redoes classic cult films. Check it out if you don't know what that is. They do. They did. That's how we got a copy of Tammy and T. Rex. The movie beat Body Parts and nothing but trouble. Mannequin 2 on the move and Cool as Ice. Wow. Big year for sequels in 91. All number twos. But that's just a little bit of information there. And the, the tagline is a love he can't forget. Forget and a murder he can't remember. Oh, I like it.

[Jason Mantzoukas]

Nice.

[Paul Scheer]

Would you recommend the film? I mean, we've talked about this a little bit, I think. Yes, across the board. Right.

[Jason Mantzoukas]

I mean, there are, I mentioned a bunch of other movies that I would watch before this that are this genre, but better, but this certainly fits into them. And I, I would say go ahead, watch it. It's, it's a, it's a lower tier erotic thriller, you know, but still fun.

[June Diane Raphael]

Yeah, I feel the same. You know, I told, I, I told Jason and Paul like I wasn't feeling that well. And this did provide some amount of joy and comfort. So I, I, I genuinely enjoyed it and it is, it felt more like, oh, it's nice to Watch this movie like Jason said, so you can watch better movies.

[Paul Scheer]

They're not. They're also like, they don't make mid budget comedies that much anymore and they don't make thrillers like the same way. This would be a perfect zone for Netflix to get in. Let's re. Let's bring back the malices, let's bring back the primal years.

[Jason Mantzoukas]

But we also, like, we also don't have like eroticism in movies, like the erotic thriller. We don't have like sex like this in movies anymore. This isn't, it's not tied up in this kind of stuff. Like those kind of, like we, we do movies now that are about like just serial killers or, you know, or whatever, you know, I mean, like, but this was, this was the kind of movie that you would rent at the video store, you know, so happily I.

[June Diane Raphael]

Would see this cover and, and where.

[Paul Scheer]

People are like, people are making out on the COVID Like, that's the other thing too is like these movies were about, like, why did we have to.

[June Diane Raphael]

Watch it with our families?

[Jason Mantzoukas]

Because that's all you did. Everybody watch you when you rented a movie. Everybody watched it together.

[Paul Scheer]

Also your parents are like, I watch all your fucking bullshit. I'm. This is the time for us to sit back and have a little bit of a mystery.

[Jason Mantzoukas]

This is our time.

[Paul Scheer]

June, I know talking about amnesia, if you are okay telling the story. I do love the story of your mom watching Jason Bourne, another famous person who have amnesiac. And what your mom said to your.

[June Diane Raphael]

Sister, can you tell it, babe? Because you're gonna remember the exact phrasing.

[Paul Scheer]

Well, so Jason Bourne is having sex in that movie and June's mom turns to her sister and goes, well, he didn't forget that.

[Jason Mantzoukas]

Wouldn't it be great, Wouldn't it be great if Jason Bourne, if it's Frankipotentate, I think, starts to have sex with him and he goes, what are you doing?

[Paul Scheer]

What is this?

[Jason Mantzoukas]

What's happen? What are you doing?

[Paul Scheer]

Didn't forget that, Jason. June, I want to remind everybody that we continue this conversation on how did this get made? Last looks, where you get to weigh in on all the things that we might have missed. You might have been able to clarify some points that we have some issues with here. Maybe you have some information about the pet store they shot in. Because we are really getting into deep dives from Dancing It's On. We got a lot of information about that movie. There is amazing wealth of red carpet footage from Dancing It's On. So you get to watch Everybody talk about their experiences in the film, but so tune into that. Also, Jason and I are often on there talking about what we like in a little segment called Quarchat. But besides that, June, what do you want to plug? Anything.

[June Diane Raphael]

Well, I've already talked about Dateline, but it really is. It's a nice podcast to listen to.

[Paul Scheer]

It just is.

[June Diane Raphael]

It just is. It's really nice.

[Jason Mantzoukas]

It must be because I, I don't know if you guys feel this way about podcasts that you listen to. It must be nice to listen to a podcast that you hope to never be a guest on.

[June Diane Raphael]

Oh, God, yeah. God, yeah. You know, and I don't. I also, like, I'm weirded out by the true crime community and the sort of exploitation of victims, so please know that I. They obviously are victims of horrific crimes on, on this show, but for some of us it is. Their stories are. Are cautionary tales and you get to like, really hear about red flags and really look at your partner and ask some questions.

[Paul Scheer]

Okay.

[Jason Mantzoukas]

Even on Zoom. That was uncomfortable.

[Paul Scheer]

Yeah. Wow. Okay, interesting. Again, the number of you want to call Jason, anything you want to promote.

[Jason Mantzoukas]

I will, I will mention I was on Jason Concepcion's podcast X Ray Vision recently just talking about comic books. Oh, fun. Which was a blast. Talking about lots of great stuff. And I'll just throw out a recommendation to people because we talked about their wonderful book, Mr. Miracle. But Tom King, Mitch Garrods, who did our how did this get Made Tour tour poster, and Evan Do Shaner have done another book called Strange Adventures that's just now completed and is in hardcover so you can get that. And it is a fantastic comic series. And then I'll just also mention Brian K. Vaughan and Fiona Staples saga is back finally with new issues. So if you want to catch up on that, it is maybe one of the best com ongoing comics in the moment.

[Paul Scheer]

So I agree with that 100%. I have nothing of note, I think, to promote, but I would like to tell everybody that we are doing live shows. That's right. We are doing live shows. April 14th is the next show. We just added a brand new one. So see if you get tickets for that two shows back to back. And stay tuned for some at Largo. At Largo. Yes, thank you. Largo in Los Angeles. And we have some more shows coming up hopefully soon. So check out hdtgm.com and remember, if you want to call in, have your voice heard on Last Looks, you want to ask me a question about your life or Cody or Devin or Molly you can do that. 619 Paul ask. Or you could just talk about this movie. I can't wait to get back to these live shows and we will see everybody who's coming out to our first live show this month at Largo in just a little bit. All right, so a big thank you to our super producer Cody Fisher, our engineer Devin Bryant, our other producer Molly, our movie picking producer Avril Halley and of course all the amazing people that do the artwork for the show. That is Ghost of Craig T. Nelson on Instagram, that's Zack MacGillise and of course Kyle Waldron. You see all their work on our Facebook and Instagram pages. And speaking of that, you can follow us on Facebook, Instagram, all the different places all the time because that's, you know, we are social people. We love it. A big thank you to our publisher, July Diaz, who does an amazing job at making sure this episode gets out and gets into your ears right on time and not like those episodes that you don't get like on Dateline that June mentioned.

[June Diane Raphael]

They're pretty good.

[Paul Scheer]

They're pretty good. And of course always check cheap public where we have our shirts and available. And right now we are running a special promotion. All benefits to our shirt from Daniel Financing. It's on goes to benefit Ukrainian relief funds. And that's pretty amazing that Teepublic is doing that and we were very happy to do that as well. So we'll see you next week on Last Looks. Bye for now.