Slumber Party Massacre II (1987)

[00:00:00] Speaker A: You. [00:00:03] Speaker B: Welcome, listener. [00:00:05] Speaker A: You. [00:00:05] Speaker B: Fuck you, man. You're stepping on my shit right now. [00:00:09] Speaker C: I was just gonna. [00:00:09] Speaker B: Damn it. [00:00:10] Speaker A: Good. You can go. When I'm producing this thing, why don't you wait for. Why don't you wait for the director to tell you? Action, buddy. [00:00:16] Speaker C: Yeah, director. [00:00:19] Speaker B: Director. You're just some shitty editor, man. [00:00:23] Speaker A: Hey, man. Hey. [00:00:28] Speaker B: Engineer partner, co creative executor, love of my life. [00:00:37] Speaker C: I'm the nervous guy in the room watching Lenin. [00:00:40] Speaker B: Shut the fuck up. [00:00:41] Speaker A: You shut the fuck up. No, you're like Ringo star, man. [00:00:45] Speaker B: This is. People, don't let. Don't leak this. [00:00:51] Speaker C: We're the Beatles. [00:00:52] Speaker B: I'm known as, like, the Tom Hanks for the group. [00:00:55] Speaker A: Come on, we're the Beatles. [00:00:57] Speaker B: Don't fight guys like Nikki. That was good. That was a good ring. What were you doing? [00:01:03] Speaker A: I was doing Ringo. Yeah. [00:01:08] Speaker C: It'S a perfect, cartoonish Ringo. [00:01:10] Speaker A: It's like a perfect. It. [00:01:15] Speaker C: It's like a rocky and bully club episode. [00:01:16] Speaker A: I'm going to stop on my head. If I keep going, it's going to go weird. [00:01:21] Speaker B: All right, you tell me when, Mickey. [00:01:26] Speaker A: We're a go at the station. Go ahead. And, Michelangelo, whenever you're ready. [00:01:43] Speaker B: We'Re good. [00:01:44] Speaker C: We're definitely not ready to go, so. [00:01:47] Speaker A: You can probably go ahead and start. [00:01:48] Speaker B: Speaking and go at the station. [00:01:53] Speaker A: Whenever you're ready. You can go ahead and take it. [00:01:55] Speaker B: Away for the show to start. Is that, like, official? [00:02:02] Speaker A: I don't know. [00:02:04] Speaker B: Are you just making this up on the spot? Is this coming from your history? [00:02:08] Speaker A: No. I mean, there are people that say we're a go at the station. That's like, a military thing. [00:02:12] Speaker C: That's a thing? [00:02:13] Speaker A: Yeah. Okay. Yeah, we're a go at the station. [00:02:16] Speaker B: Funny if it wasn't, I was really hoping and I. [00:02:18] Speaker A: Just making it up. All right, we'll go in five, four, three. [00:02:31] Speaker B: Welcome, listener, to the return slot. [00:02:35] Speaker A: I want to be your Tokyo convertible. No, is that. Yeah, I want to be your Tokyo convertible. [00:02:46] Speaker B: Okay, we'll get to it. [00:02:48] Speaker A: We'll get to it. [00:02:49] Speaker B: We'll get to it. We'll talk about that classic hit. [00:02:51] Speaker A: Classic hit. [00:02:54] Speaker B: So the return slot of horror or. [00:03:00] Speaker A: I want to be. [00:03:04] Speaker B: A podcast recorded in the basement of our video store. After hours, when the doors are locked, the VHS are rewound, and the moon is glowing pale blue on a brisk and breezy night, we like to hang out in the basement, light a scented candle, crack open a drink, and discuss our beloved genre, horror. Every episode, we invite you to join us for a frosty libation as we discuss a film selected from one of our painstakingly curated subsections of the video store. That's right, for the uninitiated, or anyone unlucky enough to have not grown up with an independent video store in their neighborhood that you could just walk to. Mickey, can you explain this? [00:03:41] Speaker A: Yeah. Well, back in the day, before there was streaming, even before Blockbuster, there were these independent video stores. And to appease the appetites of movie nerds like myself, Michelangelo, Chris, they would fill their shelves with videos on demand or video nasties. These mom and pop shops were responsible for taking the horror genre from limited theater runs and late night drive ins to every small slumber party in America. But what really made these video stores special were the people working in the store, curating personalized sections based on their interests and the interests of their patrons. Recommendations based on conversations, not algorithms. So here at the return slot, we keep that spirit alive and strong, and we hope you enjoy perusing our sections and joining in our conversations. [00:04:33] Speaker B: This week, we find ourselves in the sassy sequel section of the video store for our third installment of the Sassy sequel section. [00:04:43] Speaker A: Sassy. [00:04:45] Speaker B: Now I'm going to warn the listener. This is a hangout drink and talk with friends about movies, podcasts. This is not a film review, a podcast, or a critical analysis podcast. If anything, it's a critical analysis of ourselves. What do these horror films tell us about ourselves, our lives, our relationships? How do we see ourselves reflected in these stories? And how can we better understand ourselves and each other through these movies? Also, I got to start remembering to say this, but I think it's obvious when you see the runtime on these podcasts, obviously spoilers. I don't think you can talk for, like, over an hour about a movie and not have it filled with spoilers. And we probably will be talking about other films connected in this franchise, but we'll stay away from spoilers, typically in that discussion. [00:05:35] Speaker A: And I'll just add to that, that for the majority of the movies we're doing, we're doing movies that have had years and years and years of life. So it's like, there's enough content on the world, and it's not like we're spoiling, like, brand new movies. Welcome to the world. Last five years. If you tune into a podcast about a movie, you're getting it spoiled. [00:05:55] Speaker C: Guys, this film is only 37 years old. I mean, are you sure that you're. [00:06:00] Speaker A: Out of the zone? [00:06:02] Speaker B: Whose voice is that? Who is joining us? What is in the basement? [00:06:05] Speaker A: This coming out of the dark corner? [00:06:08] Speaker B: Just like. [00:06:11] Speaker A: I just see those in the corner. [00:06:13] Speaker B: Am I reading this? Copyright Mickey. Tonight we are joined by self proclaimed feminist icon and expert Chris. [00:06:22] Speaker C: Yeah, thank. [00:06:28] Speaker A: Good one. This is a good. [00:06:29] Speaker B: We needed a feminist icon and a feminist expert, and I'm glad just the three of us, three men in the basement talking about, of course, Mickey, co host and creator of the show 69 joke aficionado Mickey is with us this evening as well as usual. Now, before we get to tonight's movie, guys, I got to know, what are you drinking tonight? [00:07:09] Speaker A: I'm going to go first on this one. [00:07:11] Speaker B: Okay. [00:07:12] Speaker A: If you'll take a look at my wardrobe. Oh, yeah. [00:07:16] Speaker C: Hell, yeah. [00:07:17] Speaker A: He's got. I'm in my snoopy. Got my snoopy pjs on for our summer party we're having. And with it, wonderful. [00:07:23] Speaker B: I brought a little bit of the. [00:07:24] Speaker A: Bubbles, a little bit of bubble, hopefully kept. Here we go, drinking some champagne. Champagne. [00:07:32] Speaker B: You brought champagne flutes and everything. Is that real champagne from France? [00:07:41] Speaker A: No, I wanted to get fancy french champagne, but I just got. [00:07:47] Speaker B: This is. [00:07:47] Speaker A: This is good french champagne. [00:07:51] Speaker C: I know that group. They're the best champagne company out of champagne Illinois. [00:07:55] Speaker B: Yeah, that's what it is. Yeah, that's a fancy place. [00:08:00] Speaker A: I'm going to try to get through a whole case of champagne tonight. [00:08:03] Speaker C: Nice. [00:08:04] Speaker B: All right. [00:08:06] Speaker A: Be careful that you don't. [00:08:07] Speaker B: What are you drinking? A common side effect of drinking too much champagne is that you're haunted by a guido. In your dreams. So be careful with that. [00:08:15] Speaker A: Okay? [00:08:17] Speaker C: Wow. [00:08:24] Speaker B: I'll be using Guido a few more times this evening. [00:08:27] Speaker A: This episode is going to get us all canceled, I already can promise you. [00:08:31] Speaker B: Oh, yeah, I foresee that coming. Chris, what are you drinking this evening? Did you craft a spooky cocktail to go along with Nicky? Champagne? [00:08:41] Speaker C: You know it, my friend. So I made up a little, you know, finger on the pulse of a pop culture reference here. I've named it champagne wishes and dead greaser driller, killer dreams. [00:08:53] Speaker A: Okay, for those of us that are. [00:08:57] Speaker C: All 40 years old and can remember lifestyles of the rich and famous. [00:09:01] Speaker B: Yeah. [00:09:03] Speaker C: This is a little cocktail made of some champagne, gin, little St. Germain liqueur, orange juice, and a touch of some pomegranate molasses to give it a little sweetness. [00:09:13] Speaker B: Ooh, very. [00:09:14] Speaker A: What a class. [00:09:15] Speaker B: And I see for a classy ass movie, and you're drinking out of a champagne coupe, which is modeled after Marie Antoinette's breasts, apparently. [00:09:25] Speaker C: Opportunity to bring up breast. [00:09:29] Speaker B: Well, that goes along with what we're going to be talking about this evening I am having tonight. I'm drinking in reference to the first film, not the one we're talking about this evening, the predecessor. Tonight I'm drinking what teen girls drink in the early eighty s in LA. A premium european style, full bodied, high quality beer. I'm a connoisseur, and therefore I drink Michelobe original lager. [00:10:07] Speaker A: Okay, fancy. [00:10:09] Speaker B: So tonight, what happens when you blend Abel Ferrara's 1979 driller Killer with nightmare on Elm street and Rocky horror picture show in order to satirize the slasher craze of the late seventy s and early eighty s? You get elderly teens playing music and getting killed in a shitty timeshare by a rock and roll guido. Tonight we are talking about the Roger Corman female driven franchise. 1980, seven's slumber party massacre two. [00:10:41] Speaker A: Also known as SPM two, directed by the great Deborah Brock. [00:10:48] Speaker B: Written and directed, yes. Now, Mickey. Yeah, Mickey was like, I had another film slated for this spot, but Mickey gave a passionate speech to me about this film being our third pick from this section. So, Mickey, why slumber party massacre two, and what is your history and relationship with the film? [00:11:17] Speaker A: Well, I don't know that it was necessarily passionate, but I definitely gave. Okay, yeah, well, you feel passionate for me all the time. Everything I say to you is filled. [00:11:26] Speaker B: And Mickey, to be fair, I mean, you are a charming, charismatic, passionate guy. [00:11:31] Speaker A: So like everything you do, everything I. [00:11:33] Speaker B: Say through this very passionate passion, you. [00:11:38] Speaker A: And I and Chris were having the conversation of what else belongs here. That seems to make really good sense. Should we even push through for a third film? And Chris was reading off some possibilities of films we could do and just hearing slumber party massacre two because I had only watched it maybe two years prior, it's one that I did not grow up with. It's one that I've only discovered as of late. And it just stuck out. I was like, oh my God, that fits right in with TCM two. It has like a similar, I would say similar vibe to it. As far know, DG Brock also has those tie ins to the Joe Dante Roger Corman connection. There's her and Toby Hooper with the Austin connection. It just seemed to just the sassy sequel. And I think it's pretty undeniable that this is a sassy. [00:12:31] Speaker C: Here. [00:12:31] Speaker B: I'm going to challenge that maybe a little bit. [00:12:34] Speaker A: Okay, I'm here for it. [00:12:37] Speaker C: Is it maybe a subsection? It's a sassy, silly sequel. [00:12:43] Speaker B: We'll get to that. We'll get to that. We'll get to that. What was your first experience with slumber party massacre two, it ties into a. [00:12:52] Speaker A: Little bit of slumber massacre party one. So I watched the first one, or at least parts of the first one with my older brother when I was a kid. I can't remember what age, but I know it because I confused the locker room scene in the first movie with the locker room scene from cutting class because these are my early experiences of seeing boobies and feeling very scared that I'm going to go to hell and that I'm definitely going to get in trouble. And my brother is finding this crazy joy out of forcing me to watch boobies. It was slumber party massacre one was that shower scene is the one. Sometimes. I sometimes credit that to cutting class, but it's definitely slumber massacre party. So I've had an experience with that throughout my life. And then when the pandemic first hit, before we even started doing the podcast, I would start binging this docuseries called in search of darkness. They have like three parts and they go on for a long time. You can really like there's some breath to them. Over the pandemic. I binged the whole series, one, two and three. And in the middle of three they go on this little segment about sequels and they take time to highlight slumber party two massacre or slumber party massacre two. And I was looking at it and I was like, that is not what I remember of Slumber party massacre like one, they were showing the driller killer with his guitar and all that stuff. So I was like, I got to fucking see this thing. I got to see it. So I watched it early pandemic and I thought it was interesting. I didn't think it was great. I didn't think it was even that good. I thought it was really interesting and worth watching. The first one. Yeah, no, the second one, hear me out, second one. And then I was like, you know what? It kind of stuck with me a little bit and I started just kind of doing a little dive on it a little bit. I started rethinking it because the first time I couldn't really figure it out. Not that it's that clever, it's just more of like just being confused. Like this is kind of stupid. This is kind of silly. [00:14:55] Speaker B: I don't know, that's pretty good. [00:14:56] Speaker A: I don't know. Are they actually trying to do this or did it stumble into something? And subsequent watches after I've been like, you know what, this is actually pretty smart. It's like a movie that's only lack or only falter for me. Is that it didn't have enough of budget and it had to check certain boxes while not letting, I think, Brock lean into really what she was trying to do, which we can. I mean, I guess we can just get into right now, but just tell a story that talks about the collective pain and trauma of existing of a woman in a patriarchy. But we'll get there. I want to get deeper into that because I'm not the best voice to talk about that. But I did steal a quote from somebody that I want to give a shout out to here about this film later. So that's kind of the history with it, but I like it. I think it's weird enough and interesting enough that it should be on people's list of watching. It has flaws. It's super flawed. It's super flawed, but it's unique. And the fact that it exists is unique. Just like, watch that shit. You exist unique. [00:16:03] Speaker B: You're silly. I should watch you. Everyone should watch you. You have a lot of flaws, but we're all watching you right now. [00:16:11] Speaker C: Are you thinking like a Truman show situation with Mickey? [00:16:15] Speaker A: Just watch me constantly. [00:16:17] Speaker B: But there are movies that do this. [00:16:18] Speaker A: To, like, I watch them, and I'm not sure how I feel about them, but they kind of cling to my ribs a little bit. And then I have to kind of step away from it, think about it, do a little bit of my own independent research, and then go back to them to see why is this thing sticking to me differently than some people who just watch it, hate it, and some people who watch it and love it? I'm somewhere in between that can't figure out how I feel about it, and this does that. Bo is afraid did that, Annette did that. There are a lot of movies that do that to me that have to go back and rewatch. [00:16:50] Speaker B: And I like what you're saying. I like the point you're making is that you can have an experience with a film, and it doesn't have to be defined completely in one setting. If you don't immediately connect with something. Well, why didn't I immediately connect with it? Or if you did, why did I connect with it? Do some research, go back, rewatch it. That's what's great about books and films and art and everything, right? It's a great point. We're so quick to easily judge things before giving it time and context and studying it and understanding its place in history. Beautifully put, Mickey. Chris, do you have history with slumber party massacre two? [00:17:40] Speaker C: So I would say yes and no history of actually watching it. No, this is something I just watched a couple of days ago. But the slumber party movie massacres and this one in particular, the box looms big in my memories. The local video store when I was a kid, shout out video library rip. A fantastic video store that used to live in the suburbs of Kansas City back when I was a kid. But I used to roam around and whenever I would see these box. I remember looking at this at that age between being a kid and being pubescent and being. Not understanding feelings of being aroused by it and then also being scared and that kind of mixture. So when it comes to actually the film itself seeing it. No, but yeah, this always. Something stands out to me from growing up, and it's kind of like one of those things, I think. I never watched it almost, because I think it doesn't take away from that memory, but you know what I mean? It almost stands apart whenever you don't have any sort of like, watching it when it just looms. It's its own little box, that type of you. [00:18:51] Speaker B: Chris, can you describe to me your process of arriving at the video store? And was there a physical or mental barrier going into the horror section? [00:19:04] Speaker C: Oh, yeah. I could sketch out for you very finitely the schematics of video library from whenever I was a kid, including from when it moved for the horror section, moved from the lower right part of the store to the topper part of the store and even to the comedy section ran along the wall. And then the horror section was horizontal shelving next to it. So even once you get into the comedies and you get down to the s's and t's, your back is to the horror section. So it's even a little like. [00:19:40] Speaker B: Was there a metaphorical gate or forest that you had to go through? [00:19:47] Speaker C: Yeah, a bit. The idea of. Because the shelves. So the Carpet was black. The shelves were black. And the shelving. So then to step between the two shelves of the horror section to be immersed into the tunnel of horror and stuff like that, I vividly recall they had, like, a bootleg cover of the exorcist that was just like her face with the makeup I'm dropping on her name now. [00:20:16] Speaker B: Linda Blair. [00:20:17] Speaker C: Linda Blair. [00:20:18] Speaker A: Thank you. [00:20:19] Speaker C: That scared the shit out. Of course. [00:20:22] Speaker B: Of course it did. [00:20:24] Speaker C: I remember, just FYi, I remember loving Monster Squad, and it was in the horror section, so I'd have to send my older brother into the horror section. [00:20:33] Speaker B: I loved Monster squad. That is so it a little bit. [00:20:42] Speaker C: But he was a pretty good guy about. [00:20:45] Speaker B: Yeah, we did do an episode on Monster Squad. Go back and listen to it. We might revisit it. I think we might. [00:20:51] Speaker A: I would love to. [00:20:52] Speaker B: I'd love to. Yeah. But I've kind of been teeing this up for you. And maybe I made this up in my mind. But didn't you tell me there was, like a plant or something? Like a big plant that sort of separated this? [00:21:06] Speaker C: Not for the horror section, for the porn section. This, like, dusty, fake plant that was, like, never clean. [00:21:16] Speaker A: Yeah, no kids in here. Dusty plant. We had an actual curtain. It was like a whole curtain. And nobody was brave enough to go across the threshold of the curtain. [00:21:29] Speaker C: Oh, man. Whenever you could peek in, though, that was like the gates of boy nirvana. [00:21:37] Speaker A: If you stand at this particular box cover, look left out of your eye, turn your head just slightly tilted up. [00:21:43] Speaker C: You can see clearly into that room. [00:21:45] Speaker A: You can kind of see something. [00:21:47] Speaker C: That was the best, right? Whenever you try to wait for someone to come out or in because the curtain would flash open a little bit. [00:21:56] Speaker A: All you see is just like, you cannot make the image out. But for some reason, just the idea, the images there, and the curtain pulled back, and you saw just a glimpse of something that might have been erotic. All of a sudden, I was like, that's all I needed. I'm feeling good. It's, like, so dumb. [00:22:15] Speaker B: I worked at a video store in Chicago in my early twenty s. An independent video store called movie time. And in the mornings when I would get there to open, we kept our safe. Wasn't a safe. It was like a cardboard box hidden in the porn section. So I'd go through the western. I'd get in. I'd go through the western doors, go into the porn section, and have to get everything ready for the day. And I remember just being in my early 20s, literally 360 degrees of just, like, pornographic images. And just, like, I'm aroused and confused and tired. Like, I got to count all this money. It was so silly. [00:22:58] Speaker C: I love the safe. Was a cardboard box in the porn section. [00:23:03] Speaker B: In the porn area. If you knew it was there. But there was a camera set up in there because weird people would come in and start jerking off. You know what I mean? And it was one of those things where it was like, the guy ran the place was this, like, biker dude. And he was like, yeah, this fucking. I fucking hate this, having the porn. But it's like, that's how we make the. Seriously? [00:23:33] Speaker A: Seriously. Yeah. [00:23:35] Speaker B: Shout out, Ian. Awesome guy. [00:23:38] Speaker A: Yeah. [00:23:39] Speaker B: Anyways, back to slumber party massacre two. My history and relationship to the film Chris very similar to yours was only in images from the vhs, art from the boxes. And then Mickey wanted to do this. I watched it for the first time, and I know that Joe Bob Briggs had done an episode, but it's no longer available through shutter. But Joe Bob has the just Joe Bob. So what I did was I put in the vhs and watched it that way. And then would pause. Because when you watch the just Joe Bob's on shutter, they have the time codes for you to watch them so you can watch long on your own. [00:24:24] Speaker A: That's really great. [00:24:25] Speaker B: So very satisfying to watch it with Joe Bob and my overall experience, and we'll delve into this more and we'll discuss it more, was that my experience with this wasn't great. I didn't enjoy it as much. And we'll get into my explanations later about why. And I was so disappointed and unfulfilled by the end of it that I went and I was like, well, let me watch the first one. And through watching the first one, I had the experience that I wanted. [00:25:13] Speaker A: Oh, interesting. [00:25:14] Speaker B: The first one for me was like an absolute blast. This one left me laughing. [00:25:23] Speaker C: I'm surprised. [00:25:24] Speaker A: I actually am. Reverse of that. I find Slumber Party massacre one to be forgettable. I think it's doing something that black Christmas does better. I've always thought of it like, it's pretty paint by number slasher film. And then Slumber Party massacre two is. [00:25:41] Speaker B: Completely disagree with you there. [00:25:43] Speaker A: Really? Okay. [00:25:44] Speaker B: Yeah. Slumber Party massacre does what this is trying to do way better. [00:25:52] Speaker A: I think it is. [00:25:53] Speaker C: Explain it. [00:25:54] Speaker B: Really explain that. [00:25:58] Speaker A: Let's do it. [00:26:01] Speaker B: Tell us. Is that everything? I'm not going to. That's it. That's it. [00:26:08] Speaker C: Now you got to speak to it. [00:26:10] Speaker A: Well. [00:26:15] Speaker B: I don't ever feel like in this movie. I don't ever feel like I'm in on the joke with the movie. That was my experience. [00:26:24] Speaker A: Right. [00:26:26] Speaker B: I found the characters to be mostly kind of annoying. And one note, outside of the killer, it's played straight. My main issues is that the tone is played straight and it's all about the interpretation and metaphors and subtext in the horror community and in the genre community and then in the cult community. I think our previous two films are like absolute out and out classics. And I don't think you could argue that they're not. This, I think, is an important piece of the puzzle. It's an important part of cinema history. But for me, it doesn't retain classic status. It just didn't align with my tastes and my sense of humors. Although again, from like a historical point of view, I understand why it's like an important film. And I think it's like something you should see at some point. But I don't think it's anything I'll ever watch again because it's like on paper, this movie is something I want to see. You know what I mean? The killer is over the top and crazy and he's killing people with the metaphor of the guitar and the drill. If you describe this movie to me, I'm like, I got to see that. And then I watch it and I'm like, to comment on what you said about the budget. The budget on this is like about twice what its predecessors was. And again, I love that movie. I thought it was hilarious. I thought it hit all the points. I thought all the party master one imagery. Yeah, the first one interesting. I found so much humor in it, I laughed out loud. I love that it looks like its atmosphere and aesthetics are more in line with a film I would like to watch. And not for nothing, it is on the Criterion channel right now. That tells you something that I think it's like. [00:28:48] Speaker C: We'll throw the caveat in that it's on everything. [00:28:51] Speaker A: Yeah, it's on everything. [00:28:54] Speaker C: Every streaming system practically has this slumber party. [00:28:57] Speaker B: Better doesn't have it. [00:28:59] Speaker C: Night flight, tubi crackle. [00:29:02] Speaker B: I'm just saying I think slumber Party massacre one is a criterion film. I think the female driven feminist franchise that Cormann was trying to create with this I think is important. [00:29:20] Speaker A: I don't disagree. I do disagree with the fact that slim apart massacre is criterion level. I disagree with that. But like I said, we all have differing opinions. I found massacre for me felt very much like a run of the mill slasher film. And even what they're trying to do that's different has already been done. So it felt like, I get that. [00:29:43] Speaker B: Corma, at that point, it's an original at that point. It's not at the same level of scream. But while watching it, I felt like I was watching Scream from 1982. You know what I mean? [00:29:55] Speaker A: Well, you're watching the scream of 1982. [00:29:58] Speaker B: You mean she's commenting on, you feel. [00:30:02] Speaker A: That there's a lot of subversion in that? Or like that they're commenting on the slasher film. [00:30:07] Speaker B: And I would love to read Rita Mae Brown's original screenplay, but I think what Amy Holden Jones did with the first one was magnificent for its time. And I think if you understand the context in which it came out, I think. I think if you went back and you watched you. I'm not saying you're going to take my side and you're going to be like, oh, I don't like part two. I'm not saying that, but I think maybe you'll get a little more out of it. Maybe. [00:30:45] Speaker C: Chris, I was going to say, well, so I literally just watched both of these within the last 48 hours. And first off, I do want to make up one very distinct point, which is that criterion distinctly curates films not based on the quality of the film, but because of what it is at that certain point in time. Or you could make an argument that sometimes they also do things like bit of money runs, like the Armageddon DVD release. So just real quick, that is a. [00:31:16] Speaker B: Criteria film, my friend. Okay. [00:31:20] Speaker C: It is in that the point of the film and special effects at the time. But we're getting off on sidetrack here. But anyway, my point is that I see your point and I see why it would be on criterion because of a women written directed film that clearly has a voice that is a bit, I think, already at that point, mocking the male driven slasher dynamics, whether it's from the overextension of the close up in the shower scene on the nude female body or the framing of the shot as the drill between the man's legs as a penis. [00:31:59] Speaker A: You know what I mean? [00:32:00] Speaker B: You really have these very chopping off the drill at the end. [00:32:07] Speaker C: I get it. You know what I mean? It has points. I'm curious about the comedy. I did not get any real comedic elements from the first one. [00:32:14] Speaker B: You don't think it's funny when the little sisters opening the fridge and there's. [00:32:18] Speaker A: The dead body in it, that little moment. Yeah, that was going for was. I didn't think it was that funny, but. Yeah, but I get that they're going for a joke there. [00:32:28] Speaker C: Can I real quick. This always reminds me of a story that I like to bring up to people, which is once upon a time, Michelangelo and I saw let the right one in at an art theater in Kansas City, and there was one person in the crowd that laughed a lot, to the point that after the film, whenever this person went to the bathroom and I was outside, there was people, like, talking about the film being like, what was the deal with that guy laughing at? [00:32:51] Speaker A: And that would be fearless host of his podcast. [00:33:00] Speaker B: There's funny moments in that. [00:33:04] Speaker C: I just always thought that was really. [00:33:05] Speaker B: Laughter and terror closely related. [00:33:08] Speaker C: So then moving on. [00:33:10] Speaker B: I mean, I know, Chris, you're never going to be invited to the podcast I'm going to need you to make an edit. Just making a note right now. [00:33:17] Speaker A: Everything. Chris, anyone that disagrees with me, edit it out. Yeah. I appreciate your stance. [00:33:26] Speaker C: Absolutely. But the second one, I wouldn't compare the two because they're clearly going for something completely different. [00:33:33] Speaker A: So different. [00:33:33] Speaker C: You know what I mean? [00:33:34] Speaker B: Yeah. Different circumstances as well, right? [00:33:37] Speaker C: Yeah. And I did not get any reading. [00:33:42] Speaker A: But clearly as subtle as the things you're saying are in part one, part two is intentionally not subtle. It's taking big swings on purpose and you're not liking them and they don't jive. [00:33:55] Speaker B: Saying I don't like them. It doesn't together in a satisfying way for me. What's the rules with the driller killer? I don't quite understand it. He's haunting her dreams, but then he comes into the real world. I'm a little confused. [00:34:13] Speaker A: I think the whole thing is a fever dream, but we can get to that. I want Chris to finish this statement because he was in the middle of something and I cut him off. [00:34:20] Speaker C: No, I think that you're kind of saying it right there, though. Right. I think that the second one, they're going for it. The first one is telling a linear tale. This one is. The second one is clearly not, I think, something that, and I have not done any reading from the woman who wrote it or directed it on their takes on it. But I mean, I think it's very open to interpretation of has anything in this film actually happened? [00:34:46] Speaker A: Maybe not. [00:34:47] Speaker C: And I would say probably not would be my take on it. [00:34:52] Speaker B: If you watch the documentary sleepless nights revisiting slumber party massacre, came out with the shout factory release, you'll hear the director talk a little bit about that. She does say there are three ways to interpret it, and then there is her favorite way of interpreting. She doesn't say that it's absolute one way or another. These are the ways you could see it. And this is how I like to see it because this is my version that I like. [00:35:23] Speaker A: I want to bring up another film just because I think it's so important. This conversation, I highlighted it a couple of times. Have you guys seen Bo is afraid by ariaster? I haven't. [00:35:32] Speaker B: I have not. [00:35:34] Speaker A: Okay. That film is as close to this as any film I can think of. If somebody's told me we were going to do a double feature film, masquerade two, and Bo is afraid, I'd be like, makes total sense. Those two films are taking trauma. In the case of Bo, it's more anxiety over his mother, like his relationship to his mother in this one, it's her relationship to the killings from the first film. But they're taking those things and they're putting you in a fever dream that's super heightened and nothing is supposed to be taken literal ever. At any moment, there are times when the camera does direct point of view, it will cut between the seeming third person point of view to all of a sudden, boom, they're talking directly into Courtney's face. And that's not a normal thing to. That's not a normal choice in filmmaking. That is a choice that you're trying to get people off kilter. You're trying to make it feel like this is kind of OD. And I think some eyes would watch that and go, it's just bad filmmaking. But it's actually like, I don't think this was ever from the start to finish. I don't think we're ever supposed to believe that any of this is really happening. And most of this is anxiety and trauma that Courtney is dealing with in her life. And Bo is afraid does the same thing just on such a higher budget, bigger production, amazing set pieces that they could never have afforded for this film, but is so similar in how it's telling its story that it's like, I saw real parallels between the two films. [00:37:11] Speaker C: I had the thought, I wonder if, I don't know the gentleman, but whoever wrote directed high tension, the french extreme. [00:37:21] Speaker B: New way, come up before on the podcast. [00:37:25] Speaker C: And was like, you know what I mean? Because you could draw a lot of parallels between this. And then what began is the storyline. [00:37:31] Speaker A: Of I hear you there. [00:37:34] Speaker B: There are a lot of films that. [00:37:35] Speaker A: Are trying to do this thing. And I'm not saying that this is the best version of that type of film either. I don't want anybody listening this to mistake this as Mickey's criterion pick or Mickey's favorite film, or not even. Probably not in a top 100 list, but it's a film you should watch because it's. No, hold on. Because it's different. Listen, we're going to do more than 100 films that I'll probably like more than slimmer party Masker two. All right? But I do think that this film is important. And something doesn't have to be my favorite to feel that's important and worthy of talking about. Right? Otherwise, it's just a podcast. I agree with Mickey's favorite movies. [00:38:09] Speaker B: Yeah, well, I mean, it kind of is. This is a podcast about our favorite movies, kind of, in a way. But I do agree with you, despite my feelings of the film, I still recognize it as an important, landmark film. [00:38:28] Speaker A: And you didn't have any fun watching it. [00:38:33] Speaker B: The humor just kind of didn't really connect with me. And again, on paper, this sounds hilarious and I think there are so many good elements. I mean, how often is your killer the heir of the little Caesar's pizza? You know what I mean? [00:38:50] Speaker A: That's hilarious. [00:38:52] Speaker C: Kind of. [00:38:54] Speaker B: No, he's the heir. [00:38:55] Speaker C: He's one of seven children and doesn't run it. [00:38:58] Speaker B: No, but he's the most important one because he was the one who was in movies and that's how that. [00:39:03] Speaker A: Well, well, do you think that there might have been something lost because you watched it alone? [00:39:10] Speaker B: I did watch it with Joe Bob, first of all. So I didn't watch it. Agree. I will agree with mean, I think most horror films are best watched with friends in a crowd. Absolutely. And I see Deborah Brocks, like really wanted to create this sort of like a midnight film rocky horror camp vibe. And I think in segments, she and the crew and the cast achieve it. Again, this is like the whole thing as a whole for me. Again, just my experience with it. [00:39:51] Speaker A: Yeah. [00:39:56] Speaker B: I connected more with the characters in the first film. I thought they were like likable, interesting characters, really awesome ideas that were there for me to see. Like Rob Lowe's brother, Patrick Lowe. Very annoying. But intentionally, I think every actor in this is doing exactly what is asked of them. [00:40:23] Speaker A: What about Crystal Bernard? You got to love her, right? [00:40:27] Speaker B: I think she's, she's great. I loved her on wings. I think she's wings, but her character is kind of flat for me. She's kind of just kind of doing the same thing throughout it. It's a little one note for me, although I think she's an amazing actor and I think everybody's doing the best they could do. Don't apologize. [00:40:55] Speaker C: Everything has to be a compliment sandwich. [00:41:01] Speaker B: I don't like to take a dump on a movie, especially because people listening to this are going to be fans of slumber party master. [00:41:09] Speaker A: I like the movie, so it's okay if you want to share. They're going to get my version, too, which is going to be like, yeah, so it's okay. There are probably people that listen also don't like the movie. And they're like, what are they talking about? [00:41:21] Speaker B: I'm an actor and so it's like, I often, when criticizing isn't the right word, but when I'm talking about performances and things like that, I have a sensitivity to it. These are people, this is 30 plus years ago. I'm going to attack their performance. They're all great. I think they were doing exactly what was asked of them. [00:41:45] Speaker A: It's just what Crystal Bernard went on. [00:41:47] Speaker B: To have a very lineup. [00:41:50] Speaker A: Great. Chris Bernard had a great. [00:41:52] Speaker B: Yeah, yeah. [00:41:54] Speaker A: And she's lovely. And she's from Texas. And she's from Texas. [00:41:59] Speaker B: The most important. Amy Holden Jones from Austin as well, I believe so. Is it Amy Holden Jones or is it Deborah Bach? [00:42:10] Speaker A: I forget. Deborah Brock's from Austin for sure. Deborah Brock is from. [00:42:21] Speaker B: A. It's this silly thing, right? Apples and oranges, right? You can't compare things, but you can't help but compare. I couldn't help but compare this film to the other two films we went over, which was Gremlins two and Texas Chainsaw two. And I'm like, those are in a whole other stratosphere of execution of humor and filmmaking. And. [00:42:47] Speaker A: Not that I would fully agree with that either, but that's mean. Texas Chainsaw massacre two. I really like. I think it's great. I don't know that mean. Toby Hooper himself has had a much better know. So has Joe Dante, for that matter. [00:43:04] Speaker B: Well, they're men, right? It's a lot easier for white men to have a successful film career, especially in that time period, than Deborah Brock or Amy Holden Jones. [00:43:16] Speaker A: Who. [00:43:16] Speaker B: Amy Holden Jones had an amazing career. [00:43:19] Speaker C: Yeah, I was going to say, but. [00:43:21] Speaker A: I think that this is in the same vein as those films. I really do. Gremlins two is not considered. It's kind of being reclaimed as like something really cool and fun and all that stuff. But at the time, it was hated. Nobody liked it. Nobody got it. I think that there's a lot of that in this film, too. It's like it doesn't have good reviews. But lately, as of 2020 and on past me, too movement and on this film has all of a sudden become very well reviewed by many in the horror film category, particularly women. So I'm glad that those three men are covering it. [00:43:59] Speaker B: Yeah. And like I've said, it holds an important place in cinematic history regarding those things. And of course, we want to get to a place where it's like we don't have to intentionally focus on like, well, this is a female directed film and this is a minority directed film and things like that. Right. We want to progress beyond that and just be at this altruistic place like Star Trek. [00:44:32] Speaker C: Yes and no. I mean, you want to honor their voice, though. That comes from their background. So, I mean, that is important of calling that out, you know what I mean? Of like, this is a film made by person X, Y and Z that has this cultural background or this sort of experience, and that's where it comes from, you know what I mean? I think that kind of puts into connotation where it is. If you were to see sometimes something like, let's say this, I wouldn't even say necessarily the second one, probably more the first one. If you were to think that it was done by men, you would think that it was probably slightly different perspective on some of the shots and some of the scenes. Second one, I think it's not exactly. [00:45:12] Speaker A: Hitting on those same notes, but it's there. [00:45:20] Speaker C: So real quick, I'm kind of jumping a bit going to the end. Do you think that she is in the sanitarium, that this has all been a fever dream, part of the hallucination? Are we to take away as a viewer that the gist of this film. [00:45:36] Speaker A: Is all based on that? [00:45:39] Speaker C: What do you think? [00:45:40] Speaker A: No, I don't. I think that actually, because, and I'm saying this because of the cinematic language, I think because it's shot in a dutch angle and it has the steam. The steam and stuff like that, I think that's evident that she's still trapped within her imaginations, her machinations of her trauma. [00:46:00] Speaker B: Right. [00:46:01] Speaker A: It's like we're never going to really know what's happening with Courtney because that's not how trauma actually works. You get scared in a noise, you get scared at chicken in the fridge. You get scared that your hamburger is actually a. Is. This is how anxiety and trauma manifests themselves in life. And the film is doing this with what I think is blatant dark humor. And by blatant dark humor, I mean not trying to be smart. It's like we're going to be silly, but the subject. So we're going to be silly and sassy, but the subject matter is like, actually pretty heavy. Again, that's why I say Boa is afraid is a great example of a better film version of this, where it's. [00:46:46] Speaker B: Like it's the one directed by a man is a better course. Of course. [00:46:50] Speaker A: It's always going to be sound bite, that. DG Brock directed Olympia Ducox's last I there I stand on that. I think that it's still part of us being a part of the fever dream. I don't think we're ever going to see the reality. And she does steal visual notes from Wes Craven, obviously. But I think that's another reason why craven, when you know you're in a dream when you know you're. She. She tilts the camera to that weird dutch angle. She has the drill come out. You see the green and pink lights that know evident when she's know really bad in her hallucinations. And you see the drill just keep hammering. It's just coming out of the floor like that. [00:47:36] Speaker B: There you go. Mickey's doing the fingers penetration thing. And I would say less stealing and more like, she's obviously satirized because that's what these are. [00:47:49] Speaker A: I mean, the detective's names are Freddy Krueger and, yeah, Voorhees and Kruger are police officers. That's what Kim might say. Where I'm saying blatantly doing these things. She doesn't even want to try to be subtle and walk in subtext. I think her intent is, let's be a sledgehammer. Let's not be like, I think that's intentional. I think pointing out, like, the rockabilly greaser guy, it's kind of a trope of how cool we think John Travolta from Greece is. It's like, people love that guy. That guy is a man's man. And so, of course he's going to be the embodiment of a driller killer. [00:48:37] Speaker B: His big phallic guitar that screws you. [00:48:40] Speaker A: To even throughout the whole film. Like the erotic book, the passage from the erotic book they read is about his member puncturing. And I'm like, the whole film, her sister in the hospital says, don't go all the way, or whatever. [00:48:59] Speaker B: She. [00:49:01] Speaker A: It's. It's like, beware of these men. Beware of these men. [00:49:05] Speaker B: They're driller killers. [00:49:07] Speaker A: And don't be tricked by their cute, like, dark hair, john Travolta looking grease lightning. [00:49:18] Speaker B: A fan. She does a fantastic job of very humorously setting up the circumstances that these characters find themselves in, where it's like, I didn't care for the setting. And it's like, they call that out. It's like, yeah, this is a shitty new subdivision development thing. Yeah, it sucks. He hasn't even moved in yet. It doesn't have any of the texture of the first one because it's like, yeah, it's this new bland bullshit. And working that into your budget is brilliant. And obviously making Courtney, like, the thing with the cops. They came in. These are teens just, of course they're not going to later on. The boy who cried wolf, right. They set up elements. And I definitely don't think that this film is devoid of humor or intelligence on the end of the people who made it, for sure. [00:50:21] Speaker A: Right. [00:50:22] Speaker C: And again, too, right. Like, you could be speaking to socioeconomic. This is made in 87 or released in 87, so probably made in 86. You're talking about Reagan America, Reagan economics. So the push of the end of federalization of mental institutions, kind of. The mental institution looks horrid whenever they show that the suburban sprawl that looks like shit, that then is also very poorly constructed because that drill just goes right through the walls, right through everything. [00:50:53] Speaker A: So, I mean, you can make a. [00:50:54] Speaker C: Case that there's a lot being said there about the time as well. [00:50:58] Speaker A: I love that take. I wasn't there when I was watching it with you on that, but now I'm like, hell, yeah, there are things I'm awakening to. This is why it's great to talk about these films, right? [00:51:08] Speaker C: Absolutely. [00:51:08] Speaker A: Everybody comes in with these interesting ideas and things that they captured from it. But, like, the institution I totally picked up on, I was like, just the way the mom's talking about how, well, the doctor said, for Valerie, the Doctor, this is just not the way the world should work or does work anymore, which is great, but at that time, you're coming right out of that. So there is that. Like I said again, she's using a sledgehammer, not trying to be like, MTV has landed at this point, right? It's like, this is like the MTV generation is about to take off, and there's a lot of that, like the bangles and the go go kind of style with this girl band, which I thought was cool as shit. [00:51:54] Speaker B: You thought this girl band was cool as shit? [00:51:57] Speaker A: I thought this girl band was never going to make it, but they're cool as shit, man. You like the rock band? I don't love their music, but an. [00:52:06] Speaker B: All girl rock band, period, is great. [00:52:08] Speaker A: It's great. [00:52:09] Speaker B: Well, give me more all girl rock bands. [00:52:12] Speaker A: That's a big, better music. They could have just made a little bit better music. [00:52:17] Speaker C: Yeah, that's a big miss to me. That that wasn't in this film was a sing off between the killer and their band. [00:52:25] Speaker B: Yeah, that would have been amazing. They use music and phallic imagery to beat him at his own game. [00:52:42] Speaker A: Well, and the fact that Sheila keeps saying that she's going to write the greatest. I think it's Sheila. Yeah. Sheila says she's going to write the greatest song, right? [00:52:49] Speaker C: Yeah. [00:52:50] Speaker A: And I was like, somehow this song is going to be the thing that's played to rescue or save them. And that's why it's the greatest song. Not because it sold millions of records, but at the end of the day, it saved their lives that she's been working on that whole weekend. She wanted a piece of the pie, and so there was a missed opportunity there. Yeah. [00:53:08] Speaker B: The pillow fight scene. [00:53:11] Speaker A: Great. [00:53:14] Speaker B: Funny, satirical. But also, I feel like there is. Okay, so it's like the rules of a Cormann film is boobs, butts and blood, right? So you got to have those things in your movie if you're making a Cormann film. And I think this fulfills that requirement. But at the same time, I know women who are just like, it's bullshit that I can't go to the park and take off my shirt like every other guy and just enjoy being shirtless. Now it becomes a sexual thing, right? So I got a little bit of that in that scene as well. Of, like, for sure she's hot, they're spraying champagne. [00:54:07] Speaker C: She says, I'm drenched. [00:54:09] Speaker A: And that's why she takes her bra and starts, like, ringing out a little bit. I'm like, that's a total guy. Move us all with champagne. I'm about to just squirt us all with champagne. [00:54:22] Speaker B: We have microphones. [00:54:28] Speaker A: Bunch of shirt talking slumber party. [00:54:32] Speaker C: My shirt's all wet. I guess I gotta take it off. I like how she's putting her bra and just covered in feathers from the. [00:54:42] Speaker B: Like, that looks. [00:54:43] Speaker C: So. [00:54:48] Speaker B: What was. To go back to what Mickey was asking, how did you interpret the ending? [00:54:57] Speaker C: I didn't. You know what mean? Like, I left with more questions than answers. This was definitely a film that I immediately kind of hopped on the Internet just to see what's other people's interpretations. You know what I mean? Because I could see it going a few different ways. I think that the only one in my mind that isn't true is that this is literal. [00:55:19] Speaker A: You know what I mean? [00:55:20] Speaker C: There's no way that this is an actual realistic story. Said, in the perspective of what this is, this at least has to be part fantasy within the main character. [00:55:39] Speaker B: Rockabilly Guido comes out of your nightmares and kills you with a guitar drill. [00:55:44] Speaker C: Real quick, though, that is something that I guess, as someone who hadn't seen it but had heard of it, I always thought that this was the resurrected killer from the first film, which I guess you could say that. But why? What's the reasoning behind that? Exactly. Just they uses the drill. There's nothing to give you that interpretation. [00:56:06] Speaker B: Not at all. They couldn't be further apart. The first guy is this creepy. I love you. And this is how I express my love to you. And this guy, confident, fun, one liners. [00:56:21] Speaker A: Dance. He's what you might think a teenage girl who was, speaking of the writer, a teenage girl who was born of a certain generation might think was like a really sexy Danny Zuko. [00:56:34] Speaker B: Like, you said it back, Danny Zuko. [00:56:38] Speaker A: It's like he's everything that she's in. Her sexual awakening in this moment. Of course, she's dealing with the trauma of seeing all of her sister's friends, all her neighbor, and then her sister go to a mental institution over it. And she is resurrecting, quote unquote resurrecting the driller killer in this embodiment of something that would sexually turn her on. Right. [00:57:02] Speaker B: It's like, it's an interesting point. It's interesting because in the first one, her character, who's played by a different actor, Courtney's character is the little sister of who's ultimately our protagonist, and she steals her sister's playgirl. And it's Stallone who's on the saying, I'm doing work. You know what I mean? And I'm actually connecting this to it. There is that Stallone's in that wheelhouse of him and Travolta getting mixed into this sort of rockabilly Freddie type character. [00:57:52] Speaker C: I had not really thought about that. But that's such a great, interesting point, right? Of, like, you've got this person that is in the first film in puberty, and now the second film is more 1819. I don't know how old you think she is. [00:58:04] Speaker B: 30. [00:58:07] Speaker A: Not that old. [00:58:10] Speaker B: That's kind of an issue for me. It's like, these do not seem like teenagers to me. These definitely seem like college. [00:58:16] Speaker A: This is very common. [00:58:19] Speaker B: I feel like. [00:58:22] Speaker A: Go ahead. [00:58:24] Speaker B: In the first film, they feel like teenagers, and even in, like, they look. No, they do. Tell me what I think. In the first one, they definitely feel like teenagers. Of the feel. Like in scream, you look back and you watch scream, and you're like, okay, obviously these people are in their 20s, but they play very well, like, teenage themes of who they are. [00:58:50] Speaker A: I understand that people can have differing opinions. I thought the slumber party massacre one folks were still too old to be high school kids. [00:58:58] Speaker B: I disagree with you. [00:59:01] Speaker A: I thought that they were in college, to be honest. I thought that they were a college girls basketball team, because they had, it looked like at one point, I saw a shirt that said Stanford. And I realized that's not the college they're going to. They're supposed to be in high school. And I was like, this is okay. I was like, I expect this from. [00:59:19] Speaker B: These films, especially when you're showing boobs, right. You have to, like, we have. We're sexualizing these girls. So, like, when guys watch it, they don't have to feel creepy. These are between the ages of 18 and 33, if you're talking about this movie. [00:59:38] Speaker A: 18 and 33. Exactly. [00:59:40] Speaker B: So much older in this than teenagers. I didn't get teenagers. That's okay. That's just my experience. [00:59:49] Speaker C: Do you call that out, though, on a lot of the Friday the 13th? Because, I mean, that's true. You love those films. And a lot of those, they got their arp cards. [00:59:59] Speaker B: Sometimes they hit the nail on the head with them and sometimes, yeah, they're older, but that's part of the charm. Yeah. [01:00:06] Speaker C: What I'm just saying, though, is are you calling out because the film didn't work for you? You know what I mean? [01:00:12] Speaker B: I'm calling it out because. [01:00:15] Speaker A: Chris Jason takes Manhattan. [01:00:18] Speaker B: Those kids are clearly clear. You'll never hear me defend. I love Friday the 13th being like a great film. I love the movies and a lot of them are terrible, but I love them. [01:00:35] Speaker A: Right. Cool. That's part of the charm. [01:00:39] Speaker C: Well, what I was originally saying before I was rudely interrupted was I think it's a great point that you both actually were bringing up about, like, so much of trauma reflects a lot of times what a person's future sexual chemistry is and how that's really hit upon heavy in this. Know, I think you both were making an excellent point there about that and something that was kind of beyond me until you guys brought it. [01:01:10] Speaker B: Might, we might need to cut this because it might be too personal of a question. [01:01:15] Speaker A: But, Chris. [01:01:18] Speaker B: You worked as, like a. [01:01:19] Speaker A: First responder at one point. Oh, yeah. [01:01:23] Speaker B: For people who had experienced sexual assault, I'm assuming it was always a woman, but I imagine all my experience were. [01:01:36] Speaker C: But not everyone's that I work for. [01:01:39] Speaker B: What was the organization you worked for and does any of that come into play when watching something like this? Your experience and your. [01:01:56] Speaker C: Yeah, I mean, I spent some time working with an organization in Kansas City that does great work in which you kind of just provide a bit of advocacy for someone that is reporting sexual assault and, yeah, it's a rewarding experience, but not enjoyable at all, as you would probably imagine. [01:02:22] Speaker B: It's a tough position to be in for sure. Like, you're dealing with a terrible thing that just happened. [01:02:27] Speaker C: Yeah, but I think the biggest thing in that situation was just to be an ally to someone that is arguably at the lowest point they could possibly be, and just try to provide a little bit of humanity and a bit of relief in that moment. None of that comes up watching something like slumber party massacre, too. [01:02:54] Speaker B: But in their own way, a film like this is like trying to bring those things that happen to the forefront in a humane way, through humor, through comedy, through horror, to present you with these ideas, either consciously or subconsciously. No, that's fair. To sort of take a campy horror film and then try to bring up, I hear you. [01:03:33] Speaker A: No. Yeah, this is an excellent opportunity for me to meet to read a quote. So I want to quote somebody on this film because obviously my station in life, not being a woman or having to deal with the male gaze, I can't really speak to it very well other than experiences my wife's told me or things that I witnessed in jobs and places where I've worked, where I've seen that. But this is from Bella Blondie. This is of the final Girls club on screenqueens.com, and I think she does an incredible job explaining the trauma aspect of this, especially through the eyes of a woman. I'm not going to read the whole article. Definitely go search the article again. It's the final Girls club, but I want to read just the opening line from her article for everyone just to kind of get an idea, because I think if any females are listening, you might be like, ah, this is a reason why I should watch this film, or a reason I should read this article and then watch the film. But she said, this is Bella. Iconic killers like Jason, Freddie, and Michael have all been used as direct metaphors for trauma in their respective franchises. But while those series tend to grapple with more generalized idea of what PTSD is, the slumber party massacre trilogy trades in the shared collective pain of existing as a woman trades in the shared collective pain of existing as a woman under her patriarchy. In no other entry is that intent clearer than Deborah Brock's 1987 slumber Party massacre two. And then she goes on to talk about this film for about it's a solid article, but it kind of was like that article that was like, man, I need to give this thing a rewatch and think about those things. And then when you watch it under that guise, you're like, wow, man, she really is kind of not sticking it to the man, but she's subverting not just the genre, but she's also just trying to be nothing but a story of woman allyship. And it's present in the first movie, too. But in this one, like I said, it's coming in with a fucking sledgehammer. Or you might say a metal guitar with a drill on the end of it, she's like, wanting it to not be a like, it's almost in the same way Barbie is, right. I don't want to compare. It's obviously not Barbie, but in the same way that Barbie is like a sledgehammer. We're going to subtly tell the story that kind of talks about male fragility, and it's like, no, we're going to do a musical number. We're going to do like, it's going to be very poignant. It's like it's doing the same thing. And if you go in it with the, when I went in with the first time to be like, oh, this is going to be a wozany kooky sequel. And I was kind of like, I walked away, like, it's still sticking to me, but I didn't like it as much as I thought I would. And then having. Doing a little bit of research and thinking it through more and watching it twice after that, I was like, oh, man, this is actually kind of hitting. It's kind of hitting. It's pretty damn good because a lot of the sledgehammer things that maybe I thought were like, okay, now I'm like, actually, it's telling a whole different story than I thought it was in the beginning. I came to watch a horror sequel. Instead, I'm watching a movie that's using dark humor and trying to be fun in dealing with a, and grappling with a very serious issue. And I do think it's fun. [01:06:57] Speaker B: These are themes that you, I think if you go back and you listen to our episodes, you're constantly bringing up and that seem to be very important to you. Your job in the military, you deal with this. All these things that you're talking about, I hear it echoed constantly through you. It seems to be a very important issue, the patriarchy and equality and feminism. These are things constantly coming up with you. [01:07:31] Speaker A: Look, listen, I think that it's my job to take the plight of women and explain it to the world. That's what allies does. Well, mostly to women. Yeah, because they do a pretty good job. It's only after I interpret it that. [01:07:54] Speaker B: You have to let them know. [01:07:55] Speaker C: You probably didn't understand this, but let me tell. [01:08:00] Speaker A: I want to call Deborah Brock and explain her film to her. [01:08:04] Speaker B: Thank you for taking a complimentary observation about you and what you're trying to do and making a joke out of it? [01:08:20] Speaker A: No, but I do. [01:08:21] Speaker B: I would love sassy of you. [01:08:22] Speaker A: I am sassy. Well, you would be, actually, if there was a sequel between us. You're my sequel. I'm not your sequel. Oh, thank you. I think. Thank you. I don't know what that means. Well, bold. [01:08:39] Speaker B: Distinctively smart and stylish. Audacious. Cheeky. Full of spirit. I think that's what you. [01:08:46] Speaker A: Yeah, that's what I mean. No, I'm just going back to the. I've said this before on the podcast. I got single white females in New York when I met Michelangelo. Because when I met Michelangelo, he went. [01:08:57] Speaker B: By a different job, and then I killed him with a shoe. That's what he means. But he didn't die. [01:09:03] Speaker A: I just kept coming back. I'm like the killer Weber who was on wings with Crystal Bernard. [01:09:10] Speaker B: Bernard. Crystal Bernard. [01:09:13] Speaker C: There you go. [01:09:17] Speaker B: I'm pretty sure he's the boyfriend who gets the shoe in the eye. Also. [01:09:24] Speaker A: Also a pretty good version of Jack from the Shining. But what I was saying was that when I got to New York, Michelangelo and I met instantly, hit it off as friends. I mean, almost inseparable. And then after I left New York, years later, I found out people were calling him Mickey. And I was like, what? He's like, yeah, man. But it was like. [01:09:48] Speaker B: Then people were like. [01:09:49] Speaker A: His nickname was nicknamed Mick. And I was like, yeah, I was. [01:09:52] Speaker C: Going to say I was called Mick. [01:09:54] Speaker A: Yeah. I was like, this is disturbing. Well, most of my close friends call me Mick, too, but it was like, mickey and Mick. And I was like, wait. And I found out that he started stealing my name. He started, like. He started to get handsome like me. He started to work out, get all fit. [01:10:12] Speaker B: He's like, when I saw Allie, and. [01:10:17] Speaker A: Allie called, I was like, wait, I don't know how to say this. I don't know which one's Mickey. I was like, what are you talking about? [01:10:22] Speaker B: Sunbathe? [01:10:23] Speaker A: There's only one, mickey. There's only one. I am the original. There is no sequel. [01:10:27] Speaker C: Mickey, I might have a very important question here. So whenever I first met Michelangelo in 2007, eight ish, whenever that was, yeah, somewhere there, he always wore western button up shirts. Did he? Did you wear western button up shirts? [01:10:43] Speaker A: Stop. [01:10:44] Speaker C: Whenever you. [01:10:46] Speaker B: Yes, of course. I know I'm getting called out. I'm glad we're taking this iconic feminist film and turning it around to talk about, like, mickey and I. [01:11:01] Speaker C: You don't have to try to turn the conversation around, try to make us feel bad factor. We're pointing out your crimes. [01:11:06] Speaker A: Yeah. And also this iconic feminist film that you don't like. [01:11:09] Speaker B: Flattery is stealing someone's identity. I think that's the thing, right? [01:11:15] Speaker A: Yeah. Completely taking over their identity. I'm waiting for the day I go home for like a holiday thing with my family and you're just there. [01:11:28] Speaker B: I'm not going to be there. Your family sounds like your brother's in a cult. You said your mom is terrible. You've said your parents are the worst parents. I've never said that. [01:11:40] Speaker A: Mom, dad, that is not true. If you're listening, that's not true. He's just trying to walk me into. I'm going to get grounded to refocus this. [01:11:51] Speaker B: I do love the name of these films, including the sorority house massacre films, which I want to check out. 1980 Six's sorority house massacre. I also watched a half of the remake of Slumber Party Massacre that's on shutter. That Sci-Fi made great ideas, but it's a Sci-Fi thing. So that's a particular type of filmmaking that you might have a fondness for, depending on when you grew up. Those could be your Cormann films, those Sci-Fi films. But the name of these films, the name is everything. It's titillating, it's hilarious. It's telling you exactly what you're going to get. [01:12:42] Speaker A: Right. [01:12:43] Speaker B: The name is a satirical name, I think, but it's also like Cormann, like, yeah, buy this. Girls at a slumber party. [01:12:55] Speaker A: Done. Is cheerleader massacre part of that, too, or is that not part of. [01:13:04] Speaker B: I don't know. I know there's like, dude bro massacre, which I'm sure is a parody of these themes. I've heard it's good. [01:13:12] Speaker A: I haven't seen it. [01:13:17] Speaker C: Have either of you seen the third one? [01:13:20] Speaker A: No. [01:13:21] Speaker B: Third one? [01:13:21] Speaker A: Yeah. No. Okay. [01:13:24] Speaker B: Based off of the way I felt about the second one, I wasn't interested in seeing the third one, but I was very interested in seeing the first one. [01:13:34] Speaker C: And you got to give it props for the fact that we're talking about three films a series, and all three were written and directed by women. [01:13:43] Speaker B: Oh, more than three, for sure. [01:13:45] Speaker C: Wasn't at the end of the Dirty. [01:13:46] Speaker B: House massacre, which came out in 86, was written and directed by a woman. The subsequent sequels, I believe. There are two more sequels. I believe is a guy. But I think he had a plan to create a franchise, a whole section of his company that would be written and directed by women. I think that was the idea. [01:14:13] Speaker A: Talking. I wish, obviously, we should probably revisit we'll do slower party massacre one with a female co host on here or something. A guest. But I will say that Molly watched this with me one of my viewings. Did she love it? Okay, well, first of all, she thought it was like super cheese, right? Super camp. It was her first watch. But the things that made her laugh and things that she really connected with were the things like the girl in high school with the pimple that was like something. She's like, oh, she just chuckles under her breath on it. She's like, of course. And then she sees the giant pimple. She's like, oh, my God. And then it kills the girl. These are the anxieties and things that I'm like, the anxieties and the things that Courtney are going through and the things that she's perpetuating with her mind are real things and anxieties of high school girls. It's like the pimple happens to be one eating in front of people at a pool party. It's like, these are things to girls. I would say, though, oh, no, I. [01:15:24] Speaker B: Don'T want to hear that. [01:15:25] Speaker A: But in that time period, it definitely was, like, body imagery, body dysmorphia. Just doing things like that was a thing that was more akin to, I would say. [01:15:40] Speaker B: As a person who had skinny. [01:15:41] Speaker A: I'm not trying to sell guys when he was younger. [01:15:44] Speaker B: As a person who's had body dysmorphia throughout my life, I identify when a character has something like that, and I don't see it exclusive to women. [01:15:55] Speaker A: I agree. [01:15:58] Speaker B: You typically would only see things, themes like that come up with female writers and directors, for sure. [01:16:04] Speaker A: Right? [01:16:07] Speaker B: Because men don't talk about that well. [01:16:08] Speaker A: Because guys are compensating. Everything is compensation for our insecurities. Like, women aren't allowed to compensate. Right. They have to live in their insecurities. I'm being joking in that, but you know what I mean. It's like male fragility. Like, Michael Mann does it best. It's like he shows the violence and things that men can accrue when they know extremely fragile. Did we just go to Michael Mann on this? I'm sorry. This must be champagne. I do love Michael Mann. [01:16:36] Speaker B: I love Michael Mann because of Ferrari. [01:16:40] Speaker A: I've been on a small Michael Mann like thing here. It's like we also have heat. Guys, we promised we're going to eventually do this. [01:16:47] Speaker B: The book club. Heat to the book club. We recorded an episode one year ago, almost. Anyways, back to this film, back to. [01:16:57] Speaker A: Slower party massacre two. [01:16:59] Speaker B: Have we talked about all the things we wanted to talk about. [01:17:02] Speaker A: I had a couple of different things. [01:17:03] Speaker B: Yeah, you guys seem like, yeah, you got stuff. [01:17:08] Speaker A: You want me to go? Go ahead. Efficiency. [01:17:13] Speaker B: I want to get this done. If you guys. [01:17:21] Speaker A: And actors. The guy who played TJ, is he related to Bill Paxton? [01:17:28] Speaker B: Or better yet, is he related to. [01:17:32] Speaker A: Bill Paxton's character, Chet from weird science? [01:17:35] Speaker B: I hear. [01:17:41] Speaker A: He goes, what, man? I don't know, man. Come on. He's like, had that voice. It was like, grading on me. It's like, I was so ready for the Driller killer to take that guy out. [01:17:53] Speaker C: I think you're selling Chet short. I love Chetton. Bill Paxton has Chetton. [01:17:58] Speaker A: And also Bill Paxton does that in a way where it's actually fun to watch. This guy does it in a way where it's like, what the action's about. But the whole time, man, he's like, yeah, man. I was like, oh, God, you're killing me with that. I also had just a couple of quotes of love all the driller killers quotes, man. Buz, buz, buz, buz. Rock and roll never dies, baby. In the weirdest way, even though I know that he is a parody, I know that he is making fun of that. I still can't help but be like, he's kind of cool. And I know it sounds, like, so stupid to say, but why is he the most quotable? Why is he the most quotable? Why is he the most fun thing to watch? And I think that's part of. [01:19:01] Speaker C: Yeah. Which actually, that brings me. That's why I wanted to talk about, actually was Atanis Ilich, who plays the driller killer. I mean, you mentioned it, Michelangelo, but of course, one of seven children of Mike and Maria Ilich, co founders of Little Caesar's Pizza, multi billionaire real estate people in Detroit. [01:19:19] Speaker A: Pizza. [01:19:19] Speaker C: Pizza. But I wanted to bring up, I don't know if you guys know this or not. So Mike Ilich, who, he passed away, I think, about like, five years ago or so. But the last, like, 1020 years of Rosa Park's life, he paid for her housing. So you can make an argument that there is a connection between slumber party massacre two and the civil rights movement. [01:19:43] Speaker A: In the United States. [01:19:44] Speaker B: Wow. [01:19:47] Speaker A: That'S actually really incredible. [01:19:48] Speaker C: That is really incredible connection. Had no idea. But then also it begs the question too, right? Of, like, for him being in it. We talk about financing earlier, you would think, hey, dad, can you chip in? [01:20:01] Speaker A: Right? [01:20:03] Speaker C: I think he's 100 grand or a. [01:20:05] Speaker B: Little rich kid on his own in LA trying to make his way in the music and film biz. I think that's what that is. [01:20:11] Speaker A: But what if, based on what you said about the Rosa Parks thing, what if he was one of those guys that was kind of embarrassed about his money and trying to do it without it? [01:20:20] Speaker B: That's what trying. [01:20:21] Speaker A: He's. He's. [01:20:21] Speaker B: He's living as I'm doing my struggling years as an artist before eventually going back, taking over certain aspects of the family business. I believe there's a sports team in there. There's a bunch of stuff all the Detroit. Using his privilege and his family's built in wealth to do good in the world. He also beat bone cancer, by the way. Got diagnosed with bone cancer and beat it. Very interesting life. Very interesting. He's got a vinyl record out there. I think people like to make fun of it. I don't think it's worthy of being made fun of. But he's on the back in all denim with a cat. No, I think it's like, I'm a sensitive guy. I got a cat. Oh, my God. That is so you. That is exactly a picture you would. [01:21:23] Speaker C: Be wore denim and it had a cat and you identified with. [01:21:29] Speaker A: No. You're in love with him right now. He's cool. [01:21:33] Speaker B: To circle back to something Chris brought up, like an hour ago. What do we think of the ending? No one asked me my opinion. [01:21:45] Speaker A: It was an open question. We figured we knew your opinion. I didn't like it. Didn't like it? No. Go ahead. [01:21:52] Speaker B: What's your opinion? Thanks for assuming. [01:21:56] Speaker C: Does that mean that moving forward, all directives have to be phrased with? Michelangelo, what do you think about. [01:22:02] Speaker B: Well, I think it's pretty nice if we ask a question like we all give our points of view. I kind of agree. Well, now you guys are making a thing out of it. [01:22:17] Speaker A: No, it's not a thing. [01:22:18] Speaker B: It's fine out of it. Because I didn't get to say my point of view. [01:22:23] Speaker A: It was an open forum. [01:22:24] Speaker C: You just say it. [01:22:26] Speaker B: I know, but I was flowing with the conversation, and I was just coming back around. I was just coming back around. [01:22:32] Speaker A: We would love to know your. I've been wondering this whole time, Michelangelo, what did you think of the ending? Because we didn't hear. [01:22:39] Speaker B: I don't know. I would love to. You're always so insightful. You have them, Mickey. You're actually, like. I believe Mickey, but Chris is coming off very phony right now. [01:22:55] Speaker A: Too bad. [01:22:56] Speaker B: Say it. Such fucking men. I kind of, like, line up with Chris a little bit where it's like watching it, and I was like, oh, it just kind of ends in a very unsatisfactory way for me, and I think it's probably budgetary and time. You know what I mean? It's like, okay, we got to fucking. They're in the house that's being built, and she burns them up, and then we do this thing. And I think they did the best with what they had left over in editing, but it was unsatisfying. So I wasn't really left thinking, did this really happen? This not really happened. I just was looking at it from behind the scenes. Point of, you know, upon further inspection, the themes and things you were bringing up, Mickey, I thought were interesting, and I think they could be interpreted in these different ways. So I look forward to possibly watching this again if I happen to be in a group of people who want to watch this, but I don't think I'll ever voluntarily watch this on my own. [01:24:22] Speaker A: Got you. [01:24:23] Speaker B: Again. [01:24:23] Speaker A: Got you. You know what I mean? [01:24:24] Speaker B: In a group, if Ali was like, you know what? [01:24:27] Speaker C: I really want to watch summer party. [01:24:28] Speaker B: Massacre two, I'd be like, let's do it. [01:24:31] Speaker A: I would love to give this another. [01:24:32] Speaker B: Go, but I don't necessarily want to. [01:24:35] Speaker A: No, but I think. [01:24:37] Speaker B: Chris, what did you say? [01:24:38] Speaker C: That's never happening. You're never going to be in a group, and they're going to be like, hey, let's watch. [01:24:44] Speaker B: I have one friends that are imaginary. [01:24:51] Speaker A: They fit in this film perfectly. One's name is Driller Killer. One's name is officer voorhees and officer Kruger. See, this is the thing, right? It's obvious that that's not. That the cop interaction is not real. Their names are Kruger and Voorhees. It's not know. That's like my whole. But. But I do want to add this to getting people to watch this movie. I think this is a film that is only going to be seen if people find content convincing them to watch it, because it is not an easy sell. There is nothing about this that is an easy. I know how you said. [01:25:32] Speaker B: You said, oh, I read it on paper. [01:25:33] Speaker A: It seems perfect. [01:25:33] Speaker B: I agree with you there. I think this is an easy sell. Again, if you describe to me what this movie is, I'm down to watch it. [01:25:42] Speaker C: If I heard this conversation as a third party, I would be interested. [01:25:45] Speaker A: Yeah, this conversation. Yes, our conversation, I agree with. But just, I mean, on paper, I. [01:25:50] Speaker B: Shouldn'T say on paper. I would say on paper, if you read the movie, I want to watch you summarize this a female written and directed, feminist like imagery and subtext film about a rockabilly killer with a drill on his guitar. And it satirizes everything on paper. Like, I want to see this. This is must see. This is must see. Absolutely on paper. [01:26:19] Speaker A: Well, then maybe instead of that, whatever description you got of it, I wish you had gone in with the feeling of, like, this is not going to be a rockabilly. [01:26:34] Speaker B: I didn't know that. [01:26:35] Speaker A: Subversion. Okay, so you had no idea. [01:26:38] Speaker B: I went into it pretty open. [01:26:40] Speaker A: I went into it like I did. [01:26:42] Speaker B: Know, based off of what you told me, I did know there were going to be musical elements, certain elements to it. [01:26:51] Speaker A: Right. [01:26:51] Speaker B: And I did know, because it's in the sassy sequel section, that there will be satire, there will be humor. I did know certain. I was expecting certain elements, but I did not know where this movie was going to go. [01:27:04] Speaker A: Okay. You didn't know there's going to be a squirting chicken. [01:27:09] Speaker B: I didn't know there was going to be a squirting. No. [01:27:13] Speaker C: Same. [01:27:13] Speaker B: No, I did not. [01:27:15] Speaker C: I guess to Michelangelo's point, too, again, been very knowledgeable of this film's existence for a long time, but never watched it. Because although I even knew it was written directed by a woman, I thought it was played straight. You know what I mean? That. Yeah. It's like a driller killer, and he has a guitar drill, and that's like a literal thing. And on seeing it now and seeing what it is, it definitely comes across as something that I would have seen sooner, knowing what I know now. [01:27:44] Speaker A: Yeah. [01:27:45] Speaker C: But then real quick, kind of. We're talking about with the ending, too, we're kind of jumping the fact that it's a fascinating sequence. Right? So she kills him. Then, like, there's the whole friend with the torch, her friends that's dead is going on the stretcher. She pulls back the curtain. It's his voice. And she opens her eyes and says the thing. Then it goes to a dream sequence, and she's back next to Matt in what looks like the condo. [01:28:10] Speaker A: Yeah. [01:28:10] Speaker C: And then cut again whenever Matt becomes the driller killer. Then cut again to the sanitarium and then credits. It's an interesting sequence, you know what I mean? That then kind of does leave you being because of the fact that it's cut now from what you have perceived as the reality or a facet of the reality, to then a dream sequence, to almost imply that the whole film has been a dream to a certain extent, to then again, cutting. You know what I mean? It's like multiple steps then of you inferring whatever you want to infer out of it. [01:28:42] Speaker A: Yeah, I would love for you. Go ahead. [01:28:45] Speaker B: This will come up in recommendations I would love. This is a movie that is prime for a remake and not in the way that the remake they made shot. [01:29:01] Speaker A: For shot psycho like the remake. [01:29:07] Speaker C: All the characters. [01:29:08] Speaker B: But I would love to see this idea executed again. [01:29:16] Speaker A: To greater success. Absolutely. [01:29:20] Speaker B: Again, I am not questioning its importance in film history. It's got wonderful themes for me. It just doesn't come together completely. So I think that's a perfect ideal scenario for a film that has great ideas that ultimately aren't fulfilled to be remade, not in the way that the one they made in, I think in 2021, the Sci-Fi one. But to remake this. These are good ideas. These should be either remade or taken and reimagined by someone else into something else. I love the idea of a rocky horror type satirical feminist horror film. It's kind of shitty that we live in a world where it's like, well, that's the feminist movie and that's the female directed movie. And unfortunately, that's the world we live in. Right. I want more opportunities like that to be granted to the writers and directors and artists. How great would it be? It's like the entire crew is women. It would be great, I think, to see this reimagined again. Are we to the whole crew? [01:30:58] Speaker C: You're tired of the best boy grip being a man? [01:31:04] Speaker B: No, but I was going to mention it for you. From the point of view of, like, provide. It's like, for everyone you see in front of the camera, it's like double, triple, quadruple people behind the camera making it happen. So to provide those jobs with people who don't necessarily get those, because it's the same thing behind the camera as it is in front of the cameras, that it's like, overwhelmingly male. It would be great to have those positions filled by people who don't get the opportunity to do that. Anyways, are we on to recommendations now? [01:31:37] Speaker A: Well, before we get there, I just want to say. We talked about how great the first director's career was. I just want to say Deborah Brock, who made this film, did not have a bad career at all. She actually went on to do some pretty cool indie things. She helped produce Buffalo 66, who some of you might know, she was a director on VR Troopers, which is hilarious. That's a very, like. It's like a knockoff of Power Rangers. It's a Power Rangers knockoff, which I. [01:32:06] Speaker C: Thought was kind of funny. [01:32:08] Speaker A: She co executive produced Honey, I blew up the kids. You remember that one that was like the third iteration of the kids version? Like the shrunk the kids. I didn't know that was the second one. Blew up the kids. And it was like, I blew up the baby or something. Or I shrunk the baby. And did Montana Amazon redo. [01:32:25] Speaker B: Blew up the. [01:32:28] Speaker A: Montana Amazon redo or Redux, which was Olympia Ducog's last film. And it has a pretty good cast. So that's one to. Eventually, that will probably be something we should talk about. Not that it's a horror film, but that it's just a really. It's a wild, crazy film. She never stopped being that person that's doing something a little weird, a little out, a little left field. So just a fan of hers. So want to put that out there? Yeah, absolutely. And then I'm ready for in. I'm ready. Who are we recommending this to? Chris, you want to go first? [01:33:14] Speaker C: I recommend not necessarily to watch the film, but pubescent boys, the video cover something you can stare at. Really kind of have a moment of self reflection. [01:33:32] Speaker B: Boys. [01:33:33] Speaker A: So you're basically just saying the box sleeve, the things you can do with that box sleeve. Yeah. [01:33:38] Speaker C: Come into the store, you stare at the sleeve for a while, and you don't know how you feel about it. It worked for me, so I think it should work for. [01:33:48] Speaker B: I had a question for you, why we hired Chris to bring these kids in and then also for Chris to go, what are you. [01:33:57] Speaker A: So my understanding, Chris, you're a pretty handy guy. I got to ask you, are you more turned on? You're a very handy guy. You do a lot of. No, my question for you is, were you more turned on by the girls or the drill? [01:34:13] Speaker C: The drill did. I questioned how did it work? Because is he turning it on via the rebar on the guitar? [01:34:20] Speaker B: Right. No, he's playing rock and roll, baby. And that's how it goes, because rock. [01:34:26] Speaker A: And roll never dies, baby. [01:34:28] Speaker C: And then also, too, I think it was really funny that the guy's got a drill and he's winging it sometimes. Like, it's like a machete or a knife at people. You know what I mean? Trying to cut them across. That's not how that works. You can't just do that. But, yes, the drill was fascinating. I would definitely put that to use in the shop. Have a guitar drill. No, I mean, I think we hit on. I think people that are open to something that is incredibly silly. But that has really much more deeper meaning that you kind of have to sit and reflect on. That's the kind of person that I would recommend this film for. I think you're into your 80 slashers. You're maybe bored by or wanting a deeper context than your 80 slashers. I think that this is a film for you. I think I kind of touched on it again. Whenever I was watching the film, I kept up the thing. [01:35:29] Speaker A: I was like, man, did the team. [01:35:32] Speaker C: Behind high tension watch this film and come up with this idea? Like, if you're a fan of high tension, I think you should watch this and be like, man, this is interesting. [01:35:40] Speaker B: I'm a big fan of high tension, so I got to watch high tension. [01:35:45] Speaker C: Yeah, I kind of want to now as well. It's been years since I've seen it. Yeah, totally. But that's why I would recommend this film. [01:35:51] Speaker A: Great. Mickey. Yeah, I'm going to go last. No, I'm good. No, I want to go before you because I want to preempt what you're going to say for people who come in the store that have taste and you have good tastes. No, I'm kidding. I'm kidding. [01:36:13] Speaker B: No, continue down this. [01:36:16] Speaker A: No, I'm not going to. No, I think that your tastes are fantastic, and I've always found and discovered new films because of your tastes, which have always excited me and made me a better understander of humanity. But after I say the nice thing, and I'm going to say what I'm going to say. If you have seen Boa's afraid, which I know you guys haven't, you need to see it. I think if somebody walks in and goes, God, that film kind of shook me a little bit and made me like, wow, it's really intense. And especially if you're a man and watch that film, I would say try, if you can, to put yourself from the paradigm of a female as a sister or a mom or any female you've met and watch slumber party massacre two, I will even say american psycho. Similar to that, it's playing in a world where it's straddling what is real, what is not real. Is any of it real? Does any of it matter? It's dark humor. It's just kind of, like I said, coming in with a sledgehammer while listening to Huey Lewis and doing its thing. So that's my recommendation. People who like american psycho, Boa's afraid things that are definitely playing in a fever dream. Well said. [01:37:35] Speaker C: What about you, Michelangelo? Who would you recommend this movie to. [01:37:41] Speaker B: I was waiting for the official invite. [01:37:44] Speaker C: I gave it to. [01:37:45] Speaker B: I have to be asked or else. [01:37:46] Speaker A: I don't give my opinion. [01:37:47] Speaker B: I didn't like. You put some stank on it, though. You put some stank? [01:37:50] Speaker A: I didn't put stank on nothing. [01:37:59] Speaker B: This fucking scumbag, this feminist icon, Chris, okay. [01:38:09] Speaker C: The future is female, Michelangelo. [01:38:10] Speaker A: Deal with it. [01:38:12] Speaker B: Please get ready. Please hear me out. [01:38:14] Speaker A: Please hear me out. [01:38:16] Speaker C: Yeah, here we go. [01:38:18] Speaker A: Please. [01:38:18] Speaker B: Who do I recommend this to? [01:38:20] Speaker C: Classic men. [01:38:21] Speaker B: Here we go. [01:38:21] Speaker A: You're about to get canceled. You're about to get canceled. [01:38:25] Speaker B: Just let me finish what I'm saying here. [01:38:27] Speaker C: More fun this way. Start. [01:38:29] Speaker B: How about let me start. [01:38:31] Speaker C: Oh, so we can interrupt halfway. [01:38:34] Speaker A: Yeah. So. [01:38:40] Speaker B: Who do I recommend this to? Let me start off by leaving you with my impression of this film. Annoying 30 something teens go to a boring subdivision and get killed off by a cartoonish, nonsensical, Freddie inspired rockabilly killer. Watch the original or 1988 Black Roses instead. The original has an amazing and totally satisfying ending full of great feminist subtext and imagery. It's a classic. It's a total cormann blood butts and blood flick with great cinematography, direction, music, characters, plot, atmosphere and humor. A must see horror film, in my opinion. The epitome of a Friday night sleepover movie. Plus it has Sylvester Stallone, technically. Okay. God. [01:39:38] Speaker A: So that's why it won you nothing. [01:39:40] Speaker B: To do with the film. [01:39:41] Speaker C: Guys. [01:39:42] Speaker B: That said, this is an important part of cinematic history. Slumber Party Massacre two. But I honestly, outside of sort of from a film historical point of view, cannot recommend this movie as like to anyone, pleasure viewing. No. From a historical point of view, if you're interested in iconic feminist horror films, this is a must see. And if you're a person who wants to understand slasher films, you want to understand horror films, you have to see this movie at some point in your life. It's a must. But from a customer coming in and wanting to be entertained by a horror film point of view, I personally wouldn't recommend this movie. I would definitely recommend part one. And if you liked it, check out part two. It's pretty wacky. I am not a huge fan of it, but if you like the first one, definitely check out the second one. At some point where I stand, I. [01:40:58] Speaker A: Think it has the Gremlins to effect. If you really like the first one, you're not going to like the second one. [01:41:03] Speaker B: I really do. I believe that people love Gremlins. [01:41:06] Speaker A: One who likes. [01:41:09] Speaker B: I don't know anyone in modern times who likes Gremlins. One and doesn't enjoy Gremlins two. [01:41:17] Speaker A: I think that was the running theme of that film. When it came out. Was that. [01:41:22] Speaker B: Yeah, when it came out. [01:41:23] Speaker A: Disappointed. So disappointed. [01:41:26] Speaker B: I don't know. [01:41:27] Speaker A: Then we can have that conversation now. Truly, because I think that there are people like you and I that recognize its greatness. I was thinking that the general public does not. The general public is like Gremlins one. Yay. Gremlins two, go ahead. [01:41:49] Speaker C: I don't know anyone who brings up Gremlins, too, outside of it. Like jokey gremlins too. I've never heard anyone say that. [01:41:57] Speaker A: I will also say within the cult community, I think Slumber party Massacre two, kind of loved man. It's kind of like great. But hey, that's not for me to say. You weigh in, people. Find us on the return slot of warscorepod.com. [01:42:16] Speaker B: I get nervous. [01:42:19] Speaker A: It's the return slot underscore of horror pod. [01:42:24] Speaker B: On Instagram. [01:42:25] Speaker A: On Instagram. And then also please, like, rate and review us. We need that. Subscribe if you haven't subscribed. We also need that also if you want to share it with your friends. We appreciate that. Yeah. We also have a letterbox. It's not finished, but the first season is definitely on. Letterboxd, finished. You can go check out all the movies we've done. I've not put the reviews on them yet, but I am at some point going to put full reviews on every film we've watched. But it's my voice, not Michelangelo's, so. Oh, boy, if you go to letterbox, you're getting my unabashed. [01:42:57] Speaker B: I'm not agreeing with anything he's saying. [01:42:59] Speaker C: Michelangelo, you're being canceled by Mickey. [01:43:03] Speaker A: Summer party massacre number two is going to be the number one rated film on the whole thing. Above misery, above the thing. [01:43:13] Speaker C: Oh, boy. [01:43:15] Speaker A: I'm kidding. [01:43:16] Speaker B: That's jokes. [01:43:16] Speaker A: Those are jokes. [01:43:18] Speaker B: We got some things in the works. Look forward to a YouTube channel. And we're going to be working with Red Tower, which is an upcoming fantastic horror platform. You can watch original horror content. Yeah, we're growing up a little wired horror content through them, and eventually you'll. [01:43:43] Speaker A: Be able to watch. [01:43:43] Speaker B: The podcast is our hopes. But thank you for listening so much. Thank you two for being here this evening. Thank you, Mickey, for bringing slumber party massacre two into my life. It was a hole in my cinematic horror knowledge. You're laughing, but I am being sincere. [01:44:05] Speaker A: I know you. [01:44:08] Speaker B: It is a blind spot, much like Texas Chainsaw was. And despite how I felt about this particular film, in less than 48 hours, I've watched almost three of the films that have been created by this, and I plan on watching more because I'm interested in it. [01:44:30] Speaker A: Well, I'm always here to fill your empty holes. [01:44:36] Speaker C: With a drill. [01:44:38] Speaker A: With a drill, with my drill. [01:44:43] Speaker B: If I had to choose between being killed by the drill in the first one or the drill in the second one, I think the drill in the second one is where I'd want to go. [01:44:52] Speaker C: Hell yeah. Versus just like a little portable thingy. Yeah, totally. [01:44:57] Speaker B: And listener, if you happen to come across a copy of that Playgirl magazine from part one with Stallone on the COVID I wouldn't be disappointed if it found its way into the video. All we just. [01:45:13] Speaker A: Mike, just do a canned, like, goodbye. Do a canned goodbye real quick. [01:45:17] Speaker B: What's a canned goodbye? [01:45:19] Speaker C: Thanks for listening. [01:45:23] Speaker B: Pop I pop it? [01:45:25] Speaker A: No, just say something like a basic thanks for listening. We'll see you next time on the return slot of horror or something like that. I don't care. [01:45:31] Speaker C: Like a basic bitch goodbye. [01:45:33] Speaker A: A basic bitch goodbye. [01:45:36] Speaker B: Yeah, work bitch into this episode. [01:45:38] Speaker A: That's what we needed. [01:45:39] Speaker B: That's the one thing this episode was missing was the word bitch. [01:45:44] Speaker C: Nice try. Nice attempt. [01:45:46] Speaker B: I'm going to go take a leak. [01:45:48] Speaker A: Oh, that's all going in too.