September 25, 2023 • 35 mins
In This Episode, take a cinematic musical journey with Movie Mike as he shares his top 7 times that composer Hans Zimmer went HARD on a movie soundtrack. The movies range from The Dark Knight to the Lion King to Inception and more. In the Movie Review, Mike gives his thoughts on A Haunting In Venice and where it fits in the franchise, who would love this movie and is it worth seeing in theaters or wait to stream? In the Trailer Park, Mike talks about “The Kill Room” starring Uma Thurman and Samuel L. Jackson who are together again after almost 30 years after they received Oscar nods for “Pulp Fiction”. Mike gives his thoughts on the art-world-meets-the-mob comedy thriller.
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Episode Transcript
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Speaker 1 (00:00):
Hello, and welcome back to movie Mike's movie podcast. I
am your host Movie Mike, and today I want to
share with you seven times that composer Hans Zimmer went
way too hard on a movie score. I'm gonna let
you know why he is my favorite movie composer of
all time. In the movie review, we'll be talking about
a haunting in Venice. Was it scary? Was it entertaining?
(00:20):
Was it worth my time to go see this movie
in theaters because I was on the fence about it?
And in the trailer park we have a new movie
with Uma Thurman and Samuel L. Jackson, who have reunited
for the first time since the nineties since they did
pulp fiction together. We'll talk about the kill Room. Thank
you for being here, Thank you for being subscribed and
listening every single week. Shout out to the Monday Morning
Movie crew. And now let's talk movies.
Speaker 2 (00:42):
In a world where everyone and their mother has a podcast,
one man stands to infiltrate the ears of listeners like
never before in a movie podcast, A man with so
much movie knowledge, he's basically like a walking IMTB with glasses.
Speaker 1 (00:59):
From Nashville Podcast Network. This is Movie Mike movie podcast.
I often think that movie scores get overlooked on how
important they are to all of our favorite films. A
great movie score can take an eight film and make
it a ten. And it is the foundation of setting
(01:21):
the scene, setting the tone, evoking emotion, and it's always
just there. It's the glue that holds all these scenes together.
And sometimes when it's so good, we just take it
for granted. It is there, it is existing. But sometimes
you don't take time to think about how impactful the
movie score can be on one scene or making an
(01:42):
entire movie, and Hans Zimmer is one of the best
to do it. He recently celebrated his sixty sixth birthday
and I have been so obsessed with movie scores lately.
I decided to dive into the life of Hans Zimmer
and realize how impactful his work has been over the years.
So on this episode, we're going to take a look
at his career and the seven times I think he
(02:03):
went way too hard on a movie score. So looking
into the life of Hans Zimmer. He was born on
September twelfth, nineteen fifty seven, in Frankfurt, Germany. He started
playing music as a kid learned how to play the piano,
and his breakthrough intil the film industry came in the
nineteen eighties when he did the score for rain Man.
That's when he developed a relationship with director Brian Leavenson
(02:25):
and started to get known in Hollywood as being able
to create some memorable film scores. One of his most
iconic breakthrough works came in nineteen ninety four with none
other than Disney's The Lion King, which earned him the
Oscar for Best Original Score. I think one of the
most impressive things about Hans Zimmer is his versatility and
(02:46):
his range when it comes to creating film scores, because
not only did he do animated movies like The Lion King,
he also went on to do movies like Gladiator, The
Dark Knight Trilogy and create these really iconic moments through
his music and through compositions. And I think what really
sets his work apart from other composers is I feel like,
at his core, he is just a great musician and
(03:08):
knows how to blend a lot of different types of instruments.
Sometimes when you think about movie scores, you maybe think
more of somebody like a John Williams who creates these
very epic sounding, but more of what you would hear
like from an orchestra, which hans Zimmer also uses those
same orchestral elements, but he also blends things like electronic
instruments and really has a unique sound that you can
(03:30):
tell what it is a Hans Zimmer composition. And I
think that's why so many directors go to him, because
they know, you're really gonna step up my film with
your work, and I think that is what he does.
It's like getting the Beatles to do the score for
your movie. You know it's gonna be a hit if
Hans Zimmer is a part of it. And in addition
to his work in film, he has also collaborated with
(03:52):
a lot of artists like Elton John, Pharrell Williams, so
he has done music outside of the film industry, which
is another thing that I feel set to him. Apart
and just by the numbers alone, he has one hundred
and fifty film scores to his name, countless countless awards
so as two Academy Awards for Best Original Score came
in nineteen ninety four with The Lion King, which I
(04:12):
mentioned earlier, and then again in twenty twenty one with Dune.
So now that we know a little bit about Hans Zimmer,
let's get into the list. I have seven different compositions
from his movies that I picked not because they are
only from some of my favorite movies, but also because
I feel that they show his range and because hearing
these compositions, even on their own, make me want to
(04:34):
lose my mind. So at number seven from nineteen ninety
three's True Romance, the track is called You're So Cool.
I feel like this one is a little bit of
a non traditional pick, and going hard doesn't mean it
(04:57):
has to come right out of the gate and punch
you in the face. I just think the sound of
this one is so unique. Listen to it, and the
part I love where I feel like, okay, it really
goes to another level and goes way too hard is
once the percussion kicks in. And this one is going
(05:31):
to be much different than the rest on this list,
but I wanted to show you his range, and in
a movie that I wouldn't even classify as one of
my favorites from the nineties. I remember this song and
it's so distinct and so memorable and uses so many
different types of instruments that I feel like in that
one his creativity just went too hard. So at number seven,
(05:52):
I have You're So Cool from True Romance. At number
six from twenty seventeen, the movie is Dunkirk and the
tree track is called super Marine. I love this movie.
We're looking now at the work of Hans Zimmer and
Christopher Nolan, a match made in heaven. They are peanut,
butter and jelly. They will make more appearances on this list.
(06:14):
But what I loved about Dunkirk and the score and
this track specifically, is it really elevates all the action
because that movie is not only visually stunning, but it
requires a score like this to really bring home that
emotion and to show you the tenacity of everything on
the line in that movie and show you war from
(06:34):
an entirely different perspective. And in that movie, it's very
bright and colorful, but also very dark and gritty at
the same time, a lot of emphasis on the blues
in the green. But it just has like this dirty
filter to put you into the perspective of these soldiers.
And underneath that, the glue that holds it all together
is Hans Zimmer's score to really bring home that emotion
(06:57):
and I think he went way too hard on this track. Specifically,
I love his build ups, like this, building that tension,
letting you know that something not good is about to happen.
But my favorite thing in the work of Hans Zimmer
(07:20):
are the drops, and this one is so delicious. Oh
I could feel it. Listen to all those different types
of instruments and the percussion. It sounds like madness. And
(07:47):
I want to know what is going on in his
brain while composing something like this, And then you pair
that with this movie. Oh, it is beautiful. So at
number six we have Dunkirk. Moving on to number five
is a movie from twenty ten. It's called Inception, and
(08:10):
this track specifically is called Dream Is Collapsing. There are
so many great scenes and Inception that are made just
that much better with the work of Hans Zimmer, and
I think the music in this movie was so influential
to the twenty tens. I feel like after this movie,
everybody wanted the style of Inception when it came to
the visuals, but also when it came to the sound,
(08:32):
specifically the drone sound, which I feel ran rampant in
the twenty tens, and it was all because of Inception.
It's that horn drone effect that ended up being in
every single movie trailer in the twenty tens. This one
r here that was in every single trailer, and it
was all because of Inception. But along with those sound effects,
(08:53):
it was the score from Inception. And this one just
went way too hard that charging.
Speaker 3 (09:22):
See.
Speaker 1 (09:22):
I love the fact that it has that big orchestra sound,
but then you also get that charging, almost electronic sound,
and I feel like you could almost put anything on
the screen and this be epic. I could just put
this song on my Instagram story and it would be epic.
(09:45):
It could just be me eating a piece of like
I don't know, raw tofu, and it's still epic. But
also I love the scene wherever it is showing the
relationship between Leonardo DiCaprio and his wife, and it's so
soft and emotional, and I feel like this is going
(10:07):
hard in a different way because it's not so much
on the big, epic sound of Hans Zimmer, but it's
that sweet, delicate sound and knowing that sometimes less is more,
and I think that is also a very important quality
to creating a memorable score, stripping away all the things
(10:30):
and just focusing on the emotion because there's no dialogue.
Speaker 3 (10:35):
In this scene.
Speaker 1 (10:37):
It's all held together through the performances of the actors
in this song. So essentially the music is a character
in itself. So he went too hard on this entire soundtrack.
A number five it is Inception and number four is
(11:00):
an animated movie from nineteen ninety four that we mentioned earlier,
the one he won the Academy Award for Best Score.
It is The Lion King. The song is to Die
for slash What have You Done? It's the scene in
the movie after mufasadize and then Scar comes up to
Simba and tells him what have you done? You killed
your father? And then he tells him to run before
(11:22):
he gets chased by the hyaenas a really memorable scene
that comes after a depressing moment because it's right after
the sad moment of him losing his dad and now
having to run for his life. And then Hans Zimmert
just went way too hard on the composition for the scene,
like like, how insane that is? This track sounds so expensive,
(11:56):
Like listen to all those instruments and the vocals on this,
Like Disney was probably just like, hey, we just needed
some music to show that Simba is being chased. Hans Zimmer,
He's all right, hold this, I got you. It is epic,
(12:23):
it is memorable. It is at number four Hans Zimmer's
work on The Lion King moving on to number three
from twenty twenty one. It is Dune and it's the
theme song. And I am a big fan of all
the cinematic qualities of Doune. I didn't entirely love the movie.
I'm more anticipated for the sequel because that is what
(12:45):
I'm being told and reading that that's where all the
action is. I thought Dune looked great and sounded great,
but the overall story and character development in that movie
wasn't really for me. But it does feel very epic
and looks amazing on green. But what I can't deny
is the theme song to Dune and how unnecessarily hard
(13:06):
it goes, starting out from the very opening of the track,
Like the instrumentation there, the building of the tension, oh,
and the vocal comes in like that is memorable right there,
(13:27):
Maybe channeling a little bit of The Lion King from
his work earlier, but that is something unique, and that
is something that is really gonna set your film apart.
That is why you paid millions of dollars to do
the score. But then, of course it also has the
patented Hans Zimmer drop takes it to an entirely different level.
(14:00):
This one makes me want to run through a wall.
I'm gonna run through a wall right now, and that
is why it is at number three. The soundtrack to
Dune at number two is from twenty fourteen. The film
is Interstellar, and it's another theme song. This one is
(14:21):
a little bit more delicate, but like I was saying earlier,
sometimes less is more. And this score is so intricate
and so memorable and so gentle and beautiful that he
went unnecessarily hard to make us all cry with the
score to Inception because paired with Matthew McConaughey's performance and
the emotional ferocity of this movie, Oh my gosh, he
(14:43):
gets me emotional just thinking about it. But listen to
the score, Like that first note, just that first note
makes me want to ball my eyes out like Matthew
McConaughey in that one scene. We all know. There's some
(15:06):
other great moments in this soundtrack as well. Again, just
so delicate, so beautiful. It's like he's creating these memorable
scores that don't even need the movie to exist. They're
just great music on their own. Like this is one
soundtrack that if I just needed to mellow out and
(15:27):
listen to some music to have on in the background,
this is what I would put on. And of course
you get the Hans Zimmer drop the building. I think
on this performance specifically, he's playing guitar, just going on
those notes, and I think that at the core of it,
(15:48):
he is a musician who just loves performing too, and
this score just really shows that. Don't do it to
his Hans Like, I feel like at his core he
just wants to rock out. Maybe he wanted to be
a rock star. You really hear it there. But maybe,
(16:14):
like me, he is too much of a nerd to
be a rock star, so I'll just create these epic
scores to films instead. But at number two we have Inception.
Before we get to number one, I do have some
honorable mentions. The Last Samurai is also some of his
best work. This is a way of Life from the
(16:40):
Last Samurai. You also have now we are Free from
Gladiator and one of my favorites. Another one of his
delicate tracks twenty forty nine from Blade Runner twenty forty nine,
(17:04):
I guess what is so experimental? It almost made my
number seven slot, like how epic is that? And another
one that almost made the list, but it's not one
of his official credits because although he did write this theme,
(17:27):
it did have a different composer. But from two thousand
and three Pirates of the Caribbean and the Curse of
the Black Pearl, this one goes so hard, but it's
just not one of his official credits. We have made
(17:47):
it to number one. The best example of Hans hi
Mier going way too hard is from two thousand and
eight The Dark Knight. The track is why so Serious
goes into like a dog chasing car. What he did
with the entire Dark Knight trilogy was amazing, and I
think specifically in The Dark Knight because anytime the Joker
(18:08):
was on screen you knew it because of the music.
It got a little bit more intense, it got a
little bit more violent. It sounded like there was more
on the line every time the Joker was on screen,
So not only was it seeing Heath Ledger, but it
was also hearing the music that invoked that emotion In
all of us, whether you realize it or not, the
music was so essential to creating that gritty tone of
(18:32):
Gotham and really setting that movie apart from all the
other Batman movies where you had, you know, epic tracks
too from Danny Elfman. But it takes it up on
an entirely different level when it's a little bit more sophisticated,
a little bit more of an orchestra sound, but also
this very driving, pounding sound. To me, it's like orchestra
punk rock. I don't know if that's a genre specifically,
(18:54):
because that is the only way I can think of
describing the score in The Dark Knight. That is it.
(19:20):
That is seven times that Hans Zimmer went way too hard.
What is your favorite Hans Zimmer's score? I mean, for
me is the one we just heard The Dark Knight.
There's so many elements going on there, it's so memorable.
I love it all. Well, come back, I'll give you
my movie review of a Haunting in Venice, and then
at the trailer park we'll be talking about the kill
room after this. Let's get into a spoiler free movie
(19:47):
review now. Talking about a hunting in Venice. It's part
of a franchise that has had some odd success, even
though really I've only liked one of the films so far.
So it's a part of the franchise that include Murder
on the Orient, Express, Death on the Nile, and now
we have a haunting in Venice. It's supposed to be
the spooky one now that we're getting into spooky season.
(20:09):
At the movies, they wanted to cash in on what
if we do the same kind of murder mystery, but
now with a bit of a supernatural horror esque. It's
really like diet horror. Oh not even close to that.
It's like horror adjacent. Because you have Kenneth Braina who
also directs and stars in these movies. He plays the
detective who is the same detective throughout all of the films.
(20:32):
This story takes place in nineteen forty seven. He is retired,
he is done being a detective, but somebody pulls them
back in. You have Tina Fay's character who is trying
to write a new book after having three failed books.
She heard this story about a woman whose daughter died
from suicide and they want to go check it out
and get the details. So they go to a seance
where they try to communicate with the daughter who passed away,
(20:55):
and then everything hits the fan, and then everything gets
scary because they are in this building that is supposedly
haunted by children who want to kill again. Now, I
enjoyed Death on the Nile because I went into it
with very low expectations. On the surface level of these movies,
there really isn't anything spectacular, nothing to really write home about,
but they are pretty entertaining. What's different about these movies,
(21:18):
and the reason you could keep making these with the
revolving cast of characters is because you don't go to
this movie for the A list star. The format of
this movie is the star. It's the who done it scenario,
same formula as the two previous movies. He goes somebody dies,
he has to figure out how that person dies, and
then goes through all this investigation of asking all these
(21:38):
people different questions finding out where they were, just like
you would in the game of clue. So this is
kind of reintroducing what they already did with these movies
back in the day to a whole new generation, and
I think it works. But I think it's really for
people who are so into murder dramas and investigations. This
(21:59):
movie is kind of like Cis because the action isn't
really hardcore. The horror it really isn't scary whatsoever. There
are some jump scare moments because really loud noises come
out of nowhere, so that will get you. But as
far as creepy visuals or any blood and death, it's
very PG. Thirteen, So you wouldn't have any worry of
(22:20):
going to see this movie and having nightmares afterwards unless
you just really don't do well whatsoever with any horror elements.
But I feel like an eight year old could watch
this movie and have no problem falling asleep at night.
I went into this movie differently than I did Death
on the Nile. Death on the Nile I had really
low expectations and ended up enjoying it pretty well. This one,
since I like that one, I had a little bit
(22:43):
higher expectations because I knew what the format was going
to be. I just knew that it was going to
be naturally engaging because you're trying to figure it out,
just like the detective is in this movie, and there's
some fun element to that. It becomes a game to
try and figure it out and put all the pieces together.
But I have to say in this one really lack creativity,
(23:03):
really lacked a lot of imagination. It was so focused
on making it scary and never really got there that
it took away from the plot developing and making you
question different things going on in the movie, and at
times it just felt really boring. That I'm always invested
in a movie like this because I want to figure
out who did it and I want to be right
(23:26):
that is it. I watched these movies and I want
to have it right within the first twenty minutes because
that is just how I am. I feel like this
was the most predictable out of all these movies because
they were so focused on making it scary, they've left
out making it engaging and making it entertaining. So I
really struggled just to want to pay attention and want
to see the results of this movie because it was
(23:47):
just lackluster. And the other problem with the format of
the movie being the star is it's really hard for
any of the actors to shine because I feel like
they are so restricted that nobody really gets a chack
chants to shine and show off what greade of an
actor they are because you have Michelle Yao in this
who is probably the most standout performance. But then you
(24:08):
have Tina Fey, who I was excited to see, and
her performance really wasn't great whatsoever, But I think it
was because she was trying to play this character in
nineteen forty seven, but the entire time period fell off,
so her entire character I felt was a little bit wasted.
And then you have Kenneth Brano who is starring in
this movie and also directing it, and I have to
(24:29):
say it really shows in this movie because there's not
a whole lot of great direction with all the cast,
and there's also not a really great performance for him him,
which he is so good in all the other movies.
And I couldn't help but compare it to Knives Out
and Knives Out Glass Onion, because Daniel Craig does a
great job at playing such a great lead in that
that I feel like the star of that movie is him,
(24:50):
and it's not just the format of that, because I
would just watch it for his character, the way he talks,
the way he figures things out, and the way his
mind works. In this movie, Kenneth brand really didn't do
that whatsoever, So I would say, after the first twenty
maybe twenty five minutes of this movie, it really started
to go downhill. It did start out with a little
bit of promise with Michelle Yao's character organizing the seance
(25:15):
and some of the things that happened early on in
the film, but everything throughout never really got back there.
The entire movie just had a really weird tone and
even a lack of music, because there were scenes that
were trying to let breathe and let you live in
that creepiness of the house, but it was just silent
to the point where it was boring. I needed a
score there, I needed some music. I needed some more
(25:36):
things happening in this movie to make me want to
get to the finale. Surprisingly, this movie is doing pretty
well given that it had a sixty million dollar budget.
We went to see this on a Friday night and
it was surprisingly packed, primarily an older audience, which again
it goes back to me thinking that people who love
NCIS also love movies like this, and I don't want
(25:58):
to hate anybody for enjoying this movie. I think the
format of it is fine. This one just didn't really
win me over, but I could see them definitely making
a fourth movie, and they've even said if Kenneth Branna
is down to do another one, if there's another story
to be told, there will be a fourth installment inside
of this franchise. I hope they get away completely from
(26:18):
making anything creepy and go back to something like Death
on the Nile where there's more that goes on in
the location, because I think that's really what ended up
hurting this movie in the end, because Death on the
Nile they're on the boat, but they also had several
stops along the way for more things to happen. This
one just felt so boring. It felt like a bottle
episode from TV where they didn't want to spend a
(26:38):
whole lot on a lot of different locations. They just
stay in this place the entire time, and it just
feels kind of boring and empty and shallow. So at
the moment of recording this, the movie has made seventy
one million dollars worldwide. It may continue to rise going
into October and people wanting to watch something somewhat scary
or creepy at least. So I would say go to
(27:00):
see this movie if you just love murder Who Done It? Movies,
or if you have somebody in your life who doesn't
like scary movies whatsoever, and you just kind of want
to waigh them into those waters of maybe possibly getting
to take them to see The Exorcist later on. I
don't really think there's anything worth it in this movie
to have to see it in theaters. Definitely wait for
(27:21):
it to come on to streaming services because I think
it's worthy of a stream especially if you haven't seen
all the other movies inside of the franchise. Maybe just
knock them out in a weekend. Otherwise you can definitely
wait for this one. So for a Hunting in Venice,
I wanted to give it like a three. My expectations
were not met whatsoever, so I am gonna give it
(27:43):
two out of five seances.
Speaker 2 (27:49):
It's time to head down to movie Mike Trey Lar Paul.
Speaker 1 (27:53):
Two of my favorite actors are teaming up for the
first time in thirty years. Talking about Uma Thurman and
Samuel L. Jackson, who both starred in the movie from
nineteen ninety four, Pulp Fiction. They are back in a
movie called The Kill Room, which is a dark comedy
slash crime thriller movie and one that's kind of going
(28:14):
under the Radar right now. It's already coming out in
theaters this Friday, depending on when you're listening to this
episode September twenty ninth. And it just reminds me that
so many things are out of whack right now with
the writer's strike and people not being able to promote
their projects. We have to get that thing figured out,
and we have to get those people paid. We were
on such a great trajectory of movies doing so well
(28:35):
after the pandemic that this is really starting to halt things.
So get our writers paid, get our actors paid, Get
everybody who is out of work right now because of
the strike paid. Because I want to see more movies
like this succeed. Because the premise of this movie is great.
It has an awesome cast, because not only do you
have two of my favorite actors back together again, but
you also have Uma Thurman and her daughter Maya Hawk
(28:58):
starring in their very film together. So mother and daughter
on Streen together. This is a great moment in cinematic history.
The movie is about Uma Thurman's character, who is an
art gallery owner and she's struggling a little bit, and
then she gets involved with this money laundering scheme with
this mob to try and help her struggling business. And
it looks like there's gonna be a little bit of
(29:20):
a twist, just what I'm taking away from this trailer.
But before I get into more details, here's a little
bit of the kill Room trailer.
Speaker 3 (29:28):
So from now on there's a contract. Though sure I
suggest they buy art art.
Speaker 1 (29:36):
What the frig do you know about art?
Speaker 3 (29:39):
This classy art gallery run by this young lady will
take a reasonable cut for herself and cut us a
nice clean check. This thing that looks like a smurf
wood diarrhea can sell for a million bucks and the
irs Wooden bat An I.
Speaker 1 (30:00):
Samuel L. Jackson plays this mob boss, and he has
this assassin that he is working with, and they need
to find a way to clean their money because they're
taking payment for these people he is killing. But they
can't use that money because the IRS can track it
back to them. So they find Uma Thurman's character, who
has this struggling art gallery, and the assassin starts making
(30:23):
these really awful paintings, giving them to her to sell,
and she takes a cut of the profits. But then
what happens. It seems like his art starts to become popular.
He creates this artist nickname that he goes by, kind
of like a Banksy character, which is kind of the
situation you have going on in this movie. And I
feel like it's a bit of a commentary and maybe
even in reflection of what actually happens in real life.
(30:46):
And I guess I've had this suspicion. Call it a
conspiracy theory, if you will, but I've always kind of
thought that as much as I love art and can
appreciate it, sometimes I see some artwork and I can't
believe how much it sells for. So in the back
of my mind, I'm always just looking at art or
really any kind of business, like how do they operate?
(31:07):
How did they stay open? I drive by a lamp
store every day on my way home, and I think,
who's going in there and buying lamps to keep the
lights on in this facility. I feel the same way
sometimes about art, of how can you sell this painting
that to me looks like just a normal painting, but
it's worth one to two million dollars. Now, I feel
(31:27):
a lot of this is based on the artist and
based on the story behind it. So if there is
a demand for it, you can create this buzz and
create this price that somebody is willing to pay that amount,
because it seems like in the movie, they get a
client and instead of paying them for the hit, they
buy this artwork from the gallery from this assassin, and
(31:48):
then it looks like it's a clean, done deal. But
what they don't expect is his artwork to actually get
popular and people who have no idea about this operation
just start buying the art because there's a buzz around it.
It also kind of reminds me of what happened just
a couple of years ago with NFTs going on sale
and everybody was buying these really expensive NFTs and trying
(32:10):
to classify and explain to us exactly what made them
so valuable and how there was a limited space in
the digital world too, so these things were going to
hold their value. And I just read this study that
examined over seventy three thousand NFT collections and found that
ninety five percent of them may now be worthless. So
(32:31):
it's just odd timing that this movie is coming out
right now. I'm just excited to see Uma Thurman and
Maya Hank on screen together. I think that dynamic is interesting.
Some people may issue a nepotism alert, and yes, you
have two really talented and well connected parents with Uma
Thurman and Ethan Hank, But I also think Maya Hank
has a lot of talent. I loved her and Stranger Things.
(32:54):
I also loved her and Netflix's Due Revenge, so I
think there is a lot there that I'm not screaming
NEPAI if we actually get somebody who is worth the
crap right now. I also just love the fact that
Samuel L. Jackson is still just cranking out movies. He
has been in over one hundred and seventy films. I
feel like if he is in it, it just takes
it up to a different level. Minus Secret Invasion, that
(33:16):
was not a great Marvel show. So if I had
to share my excitement level after watching this trailer, let's see,
on a scale of one through five, I'm about a
four for this movie, mainly because prior to sitting down
and watch this trailer, I didn't really hear or know
much about the plot, and right after I finished it,
(33:39):
I thought, I gotta see this movie now. Oh it
just happens to be coming out on Friday, perfect timing,
So I'm about a four out of five. I'm also
just holding on to hope that Uma Thurman bust out
some of her kill Bill moves. The movie is called
The Kill Room and it comes out this Friday, September
twenty ninth.
Speaker 2 (33:54):
Had that was this week's edition of Movie by.
Speaker 1 (33:58):
Trailer Bar, and that's gonna do it. So for another
episode here of the podcast. Before I go, I got
to give my listeners shout out of the week. This week,
I'm going over to my TikTok, which I just had
one kind of pop off out of nowhere. So if
you don't follow me on TikTok, what are you doing?
I'm there at Mike Distro on every social media platform
as Mike Distro. This week, I am shouting out Rene Namos,
(34:20):
who commented on my none to review and said your
voice is growing, brother, keep up the great work. Thank you, Renee.
Thank you for listening and watching my review. I feel
like over time, I've just gotten more dialed into who
I am and who I want to be, and what
I want to say and how I want to do
my reviews. I will honestly tell you right now, Early on,
(34:41):
I was so concerned with what people were going to
think of my opinions, and I wanted to be like
a well renowned critic, and sometimes I felt like I
needed to have a certain view to be seen as legitimate.
And I realized, after the years of doing this podcast,
I just have to say how I feel and say
it the way I want to say it, even if
(35:02):
it makes me look or sound dumb, because there's just
genuine to me and genuine to my emotions. So I
feel like, oddly I've backed my way into finding this
newfound confidence. So thank you RENEV for realizing and shouting
that out. So you shout me out, I shout you
out back. Thank you for listening. Hope you're subscribed at
this point. If you're not, what are you doing. If
you haven't told a friend about this podcast who also
(35:24):
loves movies, what are you doing? Get on that. Thank
you to the movie crew. Until next time, go out
and watch good movies and I will talk to you later.
Hello, and welcome back to movie Mike's movie podcast. I
am your host Movie Mike, and today I want to
share with you seven times that composer Hans Zimmer went
way too hard on a movie score. I'm gonna let
you know why he is my favorite movie composer of
all time. In the movie review, we'll be talking about
a haunting in Venice. Was it scary? Was it entertaining?
(00:20):
Was it worth my time to go see this movie
in theaters because I was on the fence about it?
And in the trailer park we have a new movie
with Uma Thurman and Samuel L. Jackson, who have reunited
for the first time since the nineties since they did
pulp fiction together. We'll talk about the kill Room. Thank
you for being here, Thank you for being subscribed and
listening every single week. Shout out to the Monday Morning
Movie crew. And now let's talk movies.
Speaker 2 (00:42):
In a world where everyone and their mother has a podcast,
one man stands to infiltrate the ears of listeners like
never before in a movie podcast, A man with so
much movie knowledge, he's basically like a walking IMTB with glasses.
Speaker 1 (00:59):
From Nashville Podcast Network. This is Movie Mike movie podcast.
I often think that movie scores get overlooked on how
important they are to all of our favorite films. A
great movie score can take an eight film and make
it a ten. And it is the foundation of setting
(01:21):
the scene, setting the tone, evoking emotion, and it's always
just there. It's the glue that holds all these scenes together.
And sometimes when it's so good, we just take it
for granted. It is there, it is existing. But sometimes
you don't take time to think about how impactful the
movie score can be on one scene or making an
(01:42):
entire movie, and Hans Zimmer is one of the best
to do it. He recently celebrated his sixty sixth birthday
and I have been so obsessed with movie scores lately.
I decided to dive into the life of Hans Zimmer
and realize how impactful his work has been over the years.
So on this episode, we're going to take a look
at his career and the seven times I think he
(02:03):
went way too hard on a movie score. So looking
into the life of Hans Zimmer. He was born on
September twelfth, nineteen fifty seven, in Frankfurt, Germany. He started
playing music as a kid learned how to play the piano,
and his breakthrough intil the film industry came in the
nineteen eighties when he did the score for rain Man.
That's when he developed a relationship with director Brian Leavenson
(02:25):
and started to get known in Hollywood as being able
to create some memorable film scores. One of his most
iconic breakthrough works came in nineteen ninety four with none
other than Disney's The Lion King, which earned him the
Oscar for Best Original Score. I think one of the
most impressive things about Hans Zimmer is his versatility and
(02:46):
his range when it comes to creating film scores, because
not only did he do animated movies like The Lion King,
he also went on to do movies like Gladiator, The
Dark Knight Trilogy and create these really iconic moments through
his music and through compositions. And I think what really
sets his work apart from other composers is I feel like,
at his core, he is just a great musician and
(03:08):
knows how to blend a lot of different types of instruments.
Sometimes when you think about movie scores, you maybe think
more of somebody like a John Williams who creates these
very epic sounding, but more of what you would hear
like from an orchestra, which hans Zimmer also uses those
same orchestral elements, but he also blends things like electronic
instruments and really has a unique sound that you can
(03:30):
tell what it is a Hans Zimmer composition. And I
think that's why so many directors go to him, because
they know, you're really gonna step up my film with
your work, and I think that is what he does.
It's like getting the Beatles to do the score for
your movie. You know it's gonna be a hit if
Hans Zimmer is a part of it. And in addition
to his work in film, he has also collaborated with
(03:52):
a lot of artists like Elton John, Pharrell Williams, so
he has done music outside of the film industry, which
is another thing that I feel set to him. Apart
and just by the numbers alone, he has one hundred
and fifty film scores to his name, countless countless awards
so as two Academy Awards for Best Original Score came
in nineteen ninety four with The Lion King, which I
(04:12):
mentioned earlier, and then again in twenty twenty one with Dune.
So now that we know a little bit about Hans Zimmer,
let's get into the list. I have seven different compositions
from his movies that I picked not because they are
only from some of my favorite movies, but also because
I feel that they show his range and because hearing
these compositions, even on their own, make me want to
(04:34):
lose my mind. So at number seven from nineteen ninety
three's True Romance, the track is called You're So Cool.
I feel like this one is a little bit of
a non traditional pick, and going hard doesn't mean it
(04:57):
has to come right out of the gate and punch
you in the face. I just think the sound of
this one is so unique. Listen to it, and the
part I love where I feel like, okay, it really
goes to another level and goes way too hard is
once the percussion kicks in. And this one is going
(05:31):
to be much different than the rest on this list,
but I wanted to show you his range, and in
a movie that I wouldn't even classify as one of
my favorites from the nineties. I remember this song and
it's so distinct and so memorable and uses so many
different types of instruments that I feel like in that
one his creativity just went too hard. So at number seven,
(05:52):
I have You're So Cool from True Romance. At number
six from twenty seventeen, the movie is Dunkirk and the
tree track is called super Marine. I love this movie.
We're looking now at the work of Hans Zimmer and
Christopher Nolan, a match made in heaven. They are peanut,
butter and jelly. They will make more appearances on this list.
(06:14):
But what I loved about Dunkirk and the score and
this track specifically, is it really elevates all the action
because that movie is not only visually stunning, but it
requires a score like this to really bring home that
emotion and to show you the tenacity of everything on
the line in that movie and show you war from
(06:34):
an entirely different perspective. And in that movie, it's very
bright and colorful, but also very dark and gritty at
the same time, a lot of emphasis on the blues
in the green. But it just has like this dirty
filter to put you into the perspective of these soldiers.
And underneath that, the glue that holds it all together
is Hans Zimmer's score to really bring home that emotion
(06:57):
and I think he went way too hard on this track. Specifically,
I love his build ups, like this, building that tension,
letting you know that something not good is about to happen.
But my favorite thing in the work of Hans Zimmer
(07:20):
are the drops, and this one is so delicious. Oh
I could feel it. Listen to all those different types
of instruments and the percussion. It sounds like madness. And
(07:47):
I want to know what is going on in his
brain while composing something like this, And then you pair
that with this movie. Oh, it is beautiful. So at
number six we have Dunkirk. Moving on to number five
is a movie from twenty ten. It's called Inception, and
(08:10):
this track specifically is called Dream Is Collapsing. There are
so many great scenes and Inception that are made just
that much better with the work of Hans Zimmer, and
I think the music in this movie was so influential
to the twenty tens. I feel like after this movie,
everybody wanted the style of Inception when it came to
the visuals, but also when it came to the sound,
(08:32):
specifically the drone sound, which I feel ran rampant in
the twenty tens, and it was all because of Inception.
It's that horn drone effect that ended up being in
every single movie trailer in the twenty tens. This one
r here that was in every single trailer, and it
was all because of Inception. But along with those sound effects,
(08:53):
it was the score from Inception. And this one just
went way too hard that charging.
Speaker 3 (09:22):
See.
Speaker 1 (09:22):
I love the fact that it has that big orchestra sound,
but then you also get that charging, almost electronic sound,
and I feel like you could almost put anything on
the screen and this be epic. I could just put
this song on my Instagram story and it would be epic.
(09:45):
It could just be me eating a piece of like
I don't know, raw tofu, and it's still epic. But
also I love the scene wherever it is showing the
relationship between Leonardo DiCaprio and his wife, and it's so
soft and emotional, and I feel like this is going
(10:07):
hard in a different way because it's not so much
on the big, epic sound of Hans Zimmer, but it's
that sweet, delicate sound and knowing that sometimes less is more,
and I think that is also a very important quality
to creating a memorable score, stripping away all the things
(10:30):
and just focusing on the emotion because there's no dialogue.
Speaker 3 (10:35):
In this scene.
Speaker 1 (10:37):
It's all held together through the performances of the actors
in this song. So essentially the music is a character
in itself. So he went too hard on this entire soundtrack.
A number five it is Inception and number four is
(11:00):
an animated movie from nineteen ninety four that we mentioned earlier,
the one he won the Academy Award for Best Score.
It is The Lion King. The song is to Die
for slash What have You Done? It's the scene in
the movie after mufasadize and then Scar comes up to
Simba and tells him what have you done? You killed
your father? And then he tells him to run before
(11:22):
he gets chased by the hyaenas a really memorable scene
that comes after a depressing moment because it's right after
the sad moment of him losing his dad and now
having to run for his life. And then Hans Zimmert
just went way too hard on the composition for the scene,
like like, how insane that is? This track sounds so expensive,
(11:56):
Like listen to all those instruments and the vocals on this,
Like Disney was probably just like, hey, we just needed
some music to show that Simba is being chased. Hans Zimmer,
He's all right, hold this, I got you. It is epic,
(12:23):
it is memorable. It is at number four Hans Zimmer's
work on The Lion King moving on to number three
from twenty twenty one. It is Dune and it's the
theme song. And I am a big fan of all
the cinematic qualities of Doune. I didn't entirely love the movie.
I'm more anticipated for the sequel because that is what
(12:45):
I'm being told and reading that that's where all the
action is. I thought Dune looked great and sounded great,
but the overall story and character development in that movie
wasn't really for me. But it does feel very epic
and looks amazing on green. But what I can't deny
is the theme song to Dune and how unnecessarily hard
(13:06):
it goes, starting out from the very opening of the track,
Like the instrumentation there, the building of the tension, oh,
and the vocal comes in like that is memorable right there,
(13:27):
Maybe channeling a little bit of The Lion King from
his work earlier, but that is something unique, and that
is something that is really gonna set your film apart.
That is why you paid millions of dollars to do
the score. But then, of course it also has the
patented Hans Zimmer drop takes it to an entirely different level.
(14:00):
This one makes me want to run through a wall.
I'm gonna run through a wall right now, and that
is why it is at number three. The soundtrack to
Dune at number two is from twenty fourteen. The film
is Interstellar, and it's another theme song. This one is
(14:21):
a little bit more delicate, but like I was saying earlier,
sometimes less is more. And this score is so intricate
and so memorable and so gentle and beautiful that he
went unnecessarily hard to make us all cry with the
score to Inception because paired with Matthew McConaughey's performance and
the emotional ferocity of this movie, Oh my gosh, he
(14:43):
gets me emotional just thinking about it. But listen to
the score, Like that first note, just that first note
makes me want to ball my eyes out like Matthew
McConaughey in that one scene. We all know. There's some
(15:06):
other great moments in this soundtrack as well. Again, just
so delicate, so beautiful. It's like he's creating these memorable
scores that don't even need the movie to exist. They're
just great music on their own. Like this is one
soundtrack that if I just needed to mellow out and
(15:27):
listen to some music to have on in the background,
this is what I would put on. And of course
you get the Hans Zimmer drop the building. I think
on this performance specifically, he's playing guitar, just going on
those notes, and I think that at the core of it,
(15:48):
he is a musician who just loves performing too, and
this score just really shows that. Don't do it to
his Hans Like, I feel like at his core he
just wants to rock out. Maybe he wanted to be
a rock star. You really hear it there. But maybe,
(16:14):
like me, he is too much of a nerd to
be a rock star, so I'll just create these epic
scores to films instead. But at number two we have Inception.
Before we get to number one, I do have some
honorable mentions. The Last Samurai is also some of his
best work. This is a way of Life from the
(16:40):
Last Samurai. You also have now we are Free from
Gladiator and one of my favorites. Another one of his
delicate tracks twenty forty nine from Blade Runner twenty forty nine,
(17:04):
I guess what is so experimental? It almost made my
number seven slot, like how epic is that? And another
one that almost made the list, but it's not one
of his official credits because although he did write this theme,
(17:27):
it did have a different composer. But from two thousand
and three Pirates of the Caribbean and the Curse of
the Black Pearl, this one goes so hard, but it's
just not one of his official credits. We have made
(17:47):
it to number one. The best example of Hans hi
Mier going way too hard is from two thousand and
eight The Dark Knight. The track is why so Serious
goes into like a dog chasing car. What he did
with the entire Dark Knight trilogy was amazing, and I
think specifically in The Dark Knight because anytime the Joker
(18:08):
was on screen you knew it because of the music.
It got a little bit more intense, it got a
little bit more violent. It sounded like there was more
on the line every time the Joker was on screen,
So not only was it seeing Heath Ledger, but it
was also hearing the music that invoked that emotion In
all of us, whether you realize it or not, the
music was so essential to creating that gritty tone of
(18:32):
Gotham and really setting that movie apart from all the
other Batman movies where you had, you know, epic tracks
too from Danny Elfman. But it takes it up on
an entirely different level when it's a little bit more sophisticated,
a little bit more of an orchestra sound, but also
this very driving, pounding sound. To me, it's like orchestra
punk rock. I don't know if that's a genre specifically,
(18:54):
because that is the only way I can think of
describing the score in The Dark Knight. That is it.
(19:20):
That is seven times that Hans Zimmer went way too hard.
What is your favorite Hans Zimmer's score? I mean, for
me is the one we just heard The Dark Knight.
There's so many elements going on there, it's so memorable.
I love it all. Well, come back, I'll give you
my movie review of a Haunting in Venice, and then
at the trailer park we'll be talking about the kill
room after this. Let's get into a spoiler free movie
(19:47):
review now. Talking about a hunting in Venice. It's part
of a franchise that has had some odd success, even
though really I've only liked one of the films so far.
So it's a part of the franchise that include Murder
on the Orient, Express, Death on the Nile, and now
we have a haunting in Venice. It's supposed to be
the spooky one now that we're getting into spooky season.
(20:09):
At the movies, they wanted to cash in on what
if we do the same kind of murder mystery, but
now with a bit of a supernatural horror esque. It's
really like diet horror. Oh not even close to that.
It's like horror adjacent. Because you have Kenneth Braina who
also directs and stars in these movies. He plays the
detective who is the same detective throughout all of the films.
(20:32):
This story takes place in nineteen forty seven. He is retired,
he is done being a detective, but somebody pulls them
back in. You have Tina Fay's character who is trying
to write a new book after having three failed books.
She heard this story about a woman whose daughter died
from suicide and they want to go check it out
and get the details. So they go to a seance
where they try to communicate with the daughter who passed away,
(20:55):
and then everything hits the fan, and then everything gets
scary because they are in this building that is supposedly
haunted by children who want to kill again. Now, I
enjoyed Death on the Nile because I went into it
with very low expectations. On the surface level of these movies,
there really isn't anything spectacular, nothing to really write home about,
but they are pretty entertaining. What's different about these movies,
(21:18):
and the reason you could keep making these with the
revolving cast of characters is because you don't go to
this movie for the A list star. The format of
this movie is the star. It's the who done it scenario,
same formula as the two previous movies. He goes somebody dies,
he has to figure out how that person dies, and
then goes through all this investigation of asking all these
(21:38):
people different questions finding out where they were, just like
you would in the game of clue. So this is
kind of reintroducing what they already did with these movies
back in the day to a whole new generation, and
I think it works. But I think it's really for
people who are so into murder dramas and investigations. This
(21:59):
movie is kind of like Cis because the action isn't
really hardcore. The horror it really isn't scary whatsoever. There
are some jump scare moments because really loud noises come
out of nowhere, so that will get you. But as
far as creepy visuals or any blood and death, it's
very PG. Thirteen, So you wouldn't have any worry of
(22:20):
going to see this movie and having nightmares afterwards unless
you just really don't do well whatsoever with any horror elements.
But I feel like an eight year old could watch
this movie and have no problem falling asleep at night.
I went into this movie differently than I did Death
on the Nile. Death on the Nile I had really
low expectations and ended up enjoying it pretty well. This one,
since I like that one, I had a little bit
(22:43):
higher expectations because I knew what the format was going
to be. I just knew that it was going to
be naturally engaging because you're trying to figure it out,
just like the detective is in this movie, and there's
some fun element to that. It becomes a game to
try and figure it out and put all the pieces together.
But I have to say in this one really lack creativity,
(23:03):
really lacked a lot of imagination. It was so focused
on making it scary and never really got there that
it took away from the plot developing and making you
question different things going on in the movie, and at
times it just felt really boring. That I'm always invested
in a movie like this because I want to figure
out who did it and I want to be right
(23:26):
that is it. I watched these movies and I want
to have it right within the first twenty minutes because
that is just how I am. I feel like this
was the most predictable out of all these movies because
they were so focused on making it scary, they've left
out making it engaging and making it entertaining. So I
really struggled just to want to pay attention and want
to see the results of this movie because it was
(23:47):
just lackluster. And the other problem with the format of
the movie being the star is it's really hard for
any of the actors to shine because I feel like
they are so restricted that nobody really gets a chack
chants to shine and show off what greade of an
actor they are because you have Michelle Yao in this
who is probably the most standout performance. But then you
(24:08):
have Tina Fey, who I was excited to see, and
her performance really wasn't great whatsoever, But I think it
was because she was trying to play this character in
nineteen forty seven, but the entire time period fell off,
so her entire character I felt was a little bit wasted.
And then you have Kenneth Brano who is starring in
this movie and also directing it, and I have to
(24:29):
say it really shows in this movie because there's not
a whole lot of great direction with all the cast,
and there's also not a really great performance for him him,
which he is so good in all the other movies.
And I couldn't help but compare it to Knives Out
and Knives Out Glass Onion, because Daniel Craig does a
great job at playing such a great lead in that
that I feel like the star of that movie is him,
(24:50):
and it's not just the format of that, because I
would just watch it for his character, the way he talks,
the way he figures things out, and the way his
mind works. In this movie, Kenneth brand really didn't do
that whatsoever, So I would say, after the first twenty
maybe twenty five minutes of this movie, it really started
to go downhill. It did start out with a little
bit of promise with Michelle Yao's character organizing the seance
(25:15):
and some of the things that happened early on in
the film, but everything throughout never really got back there.
The entire movie just had a really weird tone and
even a lack of music, because there were scenes that
were trying to let breathe and let you live in
that creepiness of the house, but it was just silent
to the point where it was boring. I needed a
score there, I needed some music. I needed some more
(25:36):
things happening in this movie to make me want to
get to the finale. Surprisingly, this movie is doing pretty
well given that it had a sixty million dollar budget.
We went to see this on a Friday night and
it was surprisingly packed, primarily an older audience, which again
it goes back to me thinking that people who love
NCIS also love movies like this, and I don't want
(25:58):
to hate anybody for enjoying this movie. I think the
format of it is fine. This one just didn't really
win me over, but I could see them definitely making
a fourth movie, and they've even said if Kenneth Branna
is down to do another one, if there's another story
to be told, there will be a fourth installment inside
of this franchise. I hope they get away completely from
(26:18):
making anything creepy and go back to something like Death
on the Nile where there's more that goes on in
the location, because I think that's really what ended up
hurting this movie in the end, because Death on the
Nile they're on the boat, but they also had several
stops along the way for more things to happen. This
one just felt so boring. It felt like a bottle
episode from TV where they didn't want to spend a
(26:38):
whole lot on a lot of different locations. They just
stay in this place the entire time, and it just
feels kind of boring and empty and shallow. So at
the moment of recording this, the movie has made seventy
one million dollars worldwide. It may continue to rise going
into October and people wanting to watch something somewhat scary
or creepy at least. So I would say go to
(27:00):
see this movie if you just love murder Who Done It? Movies,
or if you have somebody in your life who doesn't
like scary movies whatsoever, and you just kind of want
to waigh them into those waters of maybe possibly getting
to take them to see The Exorcist later on. I
don't really think there's anything worth it in this movie
to have to see it in theaters. Definitely wait for
(27:21):
it to come on to streaming services because I think
it's worthy of a stream especially if you haven't seen
all the other movies inside of the franchise. Maybe just
knock them out in a weekend. Otherwise you can definitely
wait for this one. So for a Hunting in Venice,
I wanted to give it like a three. My expectations
were not met whatsoever, so I am gonna give it
(27:43):
two out of five seances.
Speaker 2 (27:49):
It's time to head down to movie Mike Trey Lar Paul.
Speaker 1 (27:53):
Two of my favorite actors are teaming up for the
first time in thirty years. Talking about Uma Thurman and
Samuel L. Jackson, who both starred in the movie from
nineteen ninety four, Pulp Fiction. They are back in a
movie called The Kill Room, which is a dark comedy
slash crime thriller movie and one that's kind of going
(28:14):
under the Radar right now. It's already coming out in
theaters this Friday, depending on when you're listening to this
episode September twenty ninth. And it just reminds me that
so many things are out of whack right now with
the writer's strike and people not being able to promote
their projects. We have to get that thing figured out,
and we have to get those people paid. We were
on such a great trajectory of movies doing so well
(28:35):
after the pandemic that this is really starting to halt things.
So get our writers paid, get our actors paid, Get
everybody who is out of work right now because of
the strike paid. Because I want to see more movies
like this succeed. Because the premise of this movie is great.
It has an awesome cast, because not only do you
have two of my favorite actors back together again, but
you also have Uma Thurman and her daughter Maya Hawk
(28:58):
starring in their very film together. So mother and daughter
on Streen together. This is a great moment in cinematic history.
The movie is about Uma Thurman's character, who is an
art gallery owner and she's struggling a little bit, and
then she gets involved with this money laundering scheme with
this mob to try and help her struggling business. And
it looks like there's gonna be a little bit of
(29:20):
a twist, just what I'm taking away from this trailer.
But before I get into more details, here's a little
bit of the kill Room trailer.
Speaker 3 (29:28):
So from now on there's a contract. Though sure I
suggest they buy art art.
Speaker 1 (29:36):
What the frig do you know about art?
Speaker 3 (29:39):
This classy art gallery run by this young lady will
take a reasonable cut for herself and cut us a
nice clean check. This thing that looks like a smurf
wood diarrhea can sell for a million bucks and the
irs Wooden bat An I.
Speaker 1 (30:00):
Samuel L. Jackson plays this mob boss, and he has
this assassin that he is working with, and they need
to find a way to clean their money because they're
taking payment for these people he is killing. But they
can't use that money because the IRS can track it
back to them. So they find Uma Thurman's character, who
has this struggling art gallery, and the assassin starts making
(30:23):
these really awful paintings, giving them to her to sell,
and she takes a cut of the profits. But then
what happens. It seems like his art starts to become popular.
He creates this artist nickname that he goes by, kind
of like a Banksy character, which is kind of the
situation you have going on in this movie. And I
feel like it's a bit of a commentary and maybe
even in reflection of what actually happens in real life.
(30:46):
And I guess I've had this suspicion. Call it a
conspiracy theory, if you will, but I've always kind of
thought that as much as I love art and can
appreciate it, sometimes I see some artwork and I can't
believe how much it sells for. So in the back
of my mind, I'm always just looking at art or
really any kind of business, like how do they operate?
(31:07):
How did they stay open? I drive by a lamp
store every day on my way home, and I think,
who's going in there and buying lamps to keep the
lights on in this facility. I feel the same way
sometimes about art, of how can you sell this painting
that to me looks like just a normal painting, but
it's worth one to two million dollars. Now, I feel
(31:27):
a lot of this is based on the artist and
based on the story behind it. So if there is
a demand for it, you can create this buzz and
create this price that somebody is willing to pay that amount,
because it seems like in the movie, they get a
client and instead of paying them for the hit, they
buy this artwork from the gallery from this assassin, and
(31:48):
then it looks like it's a clean, done deal. But
what they don't expect is his artwork to actually get
popular and people who have no idea about this operation
just start buying the art because there's a buzz around it.
It also kind of reminds me of what happened just
a couple of years ago with NFTs going on sale
and everybody was buying these really expensive NFTs and trying
(32:10):
to classify and explain to us exactly what made them
so valuable and how there was a limited space in
the digital world too, so these things were going to
hold their value. And I just read this study that
examined over seventy three thousand NFT collections and found that
ninety five percent of them may now be worthless. So
(32:31):
it's just odd timing that this movie is coming out
right now. I'm just excited to see Uma Thurman and
Maya Hank on screen together. I think that dynamic is interesting.
Some people may issue a nepotism alert, and yes, you
have two really talented and well connected parents with Uma
Thurman and Ethan Hank, But I also think Maya Hank
has a lot of talent. I loved her and Stranger Things.
(32:54):
I also loved her and Netflix's Due Revenge, so I
think there is a lot there that I'm not screaming
NEPAI if we actually get somebody who is worth the
crap right now. I also just love the fact that
Samuel L. Jackson is still just cranking out movies. He
has been in over one hundred and seventy films. I
feel like if he is in it, it just takes
it up to a different level. Minus Secret Invasion, that
(33:16):
was not a great Marvel show. So if I had
to share my excitement level after watching this trailer, let's see,
on a scale of one through five, I'm about a
four for this movie, mainly because prior to sitting down
and watch this trailer, I didn't really hear or know
much about the plot, and right after I finished it,
(33:39):
I thought, I gotta see this movie now. Oh it
just happens to be coming out on Friday, perfect timing,
So I'm about a four out of five. I'm also
just holding on to hope that Uma Thurman bust out
some of her kill Bill moves. The movie is called
The Kill Room and it comes out this Friday, September
twenty ninth.
Speaker 2 (33:54):
Had that was this week's edition of Movie by.
Speaker 1 (33:58):
Trailer Bar, and that's gonna do it. So for another
episode here of the podcast. Before I go, I got
to give my listeners shout out of the week. This week,
I'm going over to my TikTok, which I just had
one kind of pop off out of nowhere. So if
you don't follow me on TikTok, what are you doing?
I'm there at Mike Distro on every social media platform
as Mike Distro. This week, I am shouting out Rene Namos,
(34:20):
who commented on my none to review and said your
voice is growing, brother, keep up the great work. Thank you, Renee.
Thank you for listening and watching my review. I feel
like over time, I've just gotten more dialed into who
I am and who I want to be, and what
I want to say and how I want to do
my reviews. I will honestly tell you right now, Early on,
(34:41):
I was so concerned with what people were going to
think of my opinions, and I wanted to be like
a well renowned critic, and sometimes I felt like I
needed to have a certain view to be seen as legitimate.
And I realized, after the years of doing this podcast,
I just have to say how I feel and say
it the way I want to say it, even if
(35:02):
it makes me look or sound dumb, because there's just
genuine to me and genuine to my emotions. So I
feel like, oddly I've backed my way into finding this
newfound confidence. So thank you RENEV for realizing and shouting
that out. So you shout me out, I shout you
out back. Thank you for listening. Hope you're subscribed at
this point. If you're not, what are you doing. If
you haven't told a friend about this podcast who also
(35:24):
loves movies, what are you doing? Get on that. Thank
you to the movie crew. Until next time, go out
and watch good movies and I will talk to you later.
Host
Mike D
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