Ep. 58 - Bonds, all the Bonds! part 7

This transcript was automatically generated and might contain errors.

[0:01] J.J.: We're here. We're back in the theater. It is the dog days of summer and everything's on fire. Everything is hot. It's on fire. We've been talking through the James Bond franchise sort of on the rewatch or things like you remember. Do you remember it differently now? Has it lost some of its luster? The Roger Moore era, I think, has always kind of had a bit of a bad rap anyway, but I think as a kid I was a little more forgiving. But now the idea of watching all the Roger Moore movies back to back, I'm exhausted. The good news here is we are putting a bow on the Roger Moore era and we're doing that right now. So let's get back to the movie theater. We are here, everybody, and we are going to help Olaf get through the Roger Moore era because he has on many occasions called it a grind.

It has been a grind, but we're doing that for you guys. We are doing all the hard work. Now, as a kid, I liked the Roger Moore era. I thought it was fun. You still get it like the action. You're still getting Bond in these situations, the gadgets, all the things. But as a kid, you're gravitating towards the goofy side of it.

[1:34] Olaf: Right. Exactly. That's how you're seeing it. And it's almost that's not how they were intending to make those these the Roger Moore era movies. Well, they were leaning towards his strengths as an actor, I think, you know, he wasn't going to be that he's a clown. He's very tongue in cheek. So funny because he's about to be a clown. Let's play to those strengths.

[1:55] J.J.: So we are going to be talking about the last two Roger Moore movies, starting with the first one, starting with Octopussy. This movie, to me, guilty pleasure. It's not good, but I enjoy this movie more than you.

[2:06] Olaf: You know, I'm glad that you have finally come around to say that this movie is not good because in all of our conversations, you're like, I love Octopussy. And I'm like, I hate this movie. But if you've listened to the Bond List episode, this movie isn't high on my list. It's down there where it needs to be.

[2:29] J.J.: I just enjoy boring.

[2:30] Olaf: It's a... What are you talking about? Opening sequence in and of itself is it's a stupid clown running through the woods.

[2:39] J.J.: No, that's not the cold open of the movie.

[2:46] Olaf: Oh, my. It's not the cold. Well, hold on. Before we get there, let's do our let's do Olaf's.

[2:53] J.J.: Oh, it's my now I'm taking responsibility for this. I'll just stop doing it if you don't want me.

[3:00] Olaf: No, no, no, no, no. I think I would like to believe that there is a section of our audience that appreciates some of these little pieces of information that you give us at the beginning.

[3:09] J.J.: All right, then here we go. We're talking about Octopussy came out 1983. It is two hours, 10 minutes, which is incredible considering how long it feels. The Rotten Tomatoes score. Forty one percent.

[3:22] Olaf: Oh, that's bad.

[3:32] J.J.: Yeah, that's got to be probably one of the lower. That's probably one of the lower I would imagine one of the lower Rotten Tomatoes scores for a Bond movie. It's down there. The audience score. Do you have a guess?

[3:40] Olaf: I mean, if the Rotten Tomatoes was 41 percent or something like that, I would put the audience score probably 66, 67 percent.

[3:51] J.J.: All right. So we know what JJ's score of this.

[3:51] Olaf: Oh, boy.

[3:51] J.J.: The audience score is 47 percent.

[3:59] Olaf: Wow. They all agree with me. This movie had a twenty seven million dollar budget and it made one hundred and eighty seven million dollars.

[4:05] J.J.: It made money. People went and saw this movie.

[4:10] Olaf: Yeah. And then they put in their reviews.

[4:10] J.J.: Yeah. Well, it's still directed by John Glenn. John Barry is back as the composer. Yes. It's a bigger cast. Maude Adams is back. But this time, yes, she's the main character Octopussy. Louis Jourdan as Kamal Khan. Christina Weyborn as Magda. Kabir Bedi as Gobinda. Stephen Berkoff is Orlov. David and Tony Meyer are the twins, which they're OK. Robert Brown comes in as our new M. Michaela Clavel is Penelope Smallbone. She just appears at the beginning of the movie. It's such a weird, awkward scene.

[4:52] Olaf: The fact that you're giving her a credit in this episode is kind of surprising, considering she's in about 30 seconds of this movie.

[4:58] J.J.: Well, it's just because that whole scene is just so cringe worthy and uncomfortable and strange. This is the part of the franchise where even he will he was too old. So all of these scenarios do feel very cringe.

[5:10] Olaf: But it's it's not just that he's too old. Moneypenny is there as well. And she is too old.

[5:25] J.J.: I know it's kind of like they're like kind of poking at that.

[5:30] Olaf: It's yeah, they are. I mean, they're they're look, look, this is what it is. So we're just going to sort of lean into it.

[5:36] J.J.: Yeah, I guess Walter Godel is back as Gogol. The Jay Amitraj is VJ, which I really didn't mind him as a sidekick. It's just funny to know that he was just a professional tennis player, tennis player, kind of leaned into that in the movie.

[5:49] Olaf: Yeah, they incorporate that in the movie, which I thought was kind of funny.

[5:53] J.J.: Yeah. And then Albert Moses as Sudruden. I don't know. That's our cast. The Bond song for this all time high by Rita Coolidge. This song I've always liked to even as a kid. It's a good song.

[6:10] Olaf: It's a good movie. They use it very well. John Barry uses it very well within the movie as part of the score.

[6:15] J.J.: I mean, I enjoy almost all of the Bond songs. There's just I think there's two that I can think of.

[6:21] Olaf: There's a few that I don't really like those.

[6:27] J.J.: Yeah. The rest, they're all great. All time high. Yeah, it's a good one. This movie was released in the same year as Warner Brothers rival film Never Say Never Again, where Sean Connery comes back out of retirement to play James Bond.

[6:40] Olaf: But he he has none of the James Bond stuff because of rights.

[6:45] J.J.: He doesn't have the actors, but all the characters are there. They're just played by different people, of course. He doesn't have the theme music. He doesn't have anything. And this is why Roger Moore is back. We complain about him being too old. They wanted to recast Roger Moore for this movie. But when they found out that Never Say Never Again was going to be released with Sean Connery, the studio didn't want to risk pitting a new actor as Bond against Connery. They just went they did because up to this point, Roger Moore is on a film to film contract. He has he fulfilled his contract after Moonraker. He decided he committed to for your eyes only. And then when it came to this one, they called him up after they because I think they tried. They went back to Timothy Dalton and he was like, I don't like where you guys are going with this franchise at the moment, so I don't want to do this. And like you said, they panicked and they got Roger Moore. So here we are.

[7:49] Olaf: So these two Bond movies, well, the Bond movie and the non Bond movie competing against each other. The winner was Octopussy. Octopussy made one hundred eighty seven million worldwide. Never Say Never Again earned one hundred sixty million. So, I mean, it still made a lot of money, but never say never again. The whole production was a mess.

[8:01] J.J.: Of course. But it made it had the biggest opening of a Bond movie, which is funny because it made nine million dollars. Never say never again in this opening weekend, which was the biggest opening of a Bond movie ever.

[8:16] Olaf: And I think that was just because of Sean Connery.

[8:20] J.J.: For sure. Everybody was tired of Roger Moore, I think, at this time. And well, I don't know this.

[8:26] Olaf: Yeah. Idea that what's he going to do? I think it's more about being curious if it's going to be any good. I don't think the expectation was really high for this movie.

[8:30] J.J.: My opinion of Never Say Never Again is.

[8:38] Olaf: Oh, yeah, it's a it's a man for sure. I mean, I would say it would be already. It is just a remake of Thunderball. And Connery was a lot younger and better as Bond in Thunderball.

[8:49] J.J.: Now, this is also the first movie where Q actually is an active participant in the mission, which I love.

[8:57] Olaf: That starts to happen a little bit more throughout these later.

[9:02] J.J.: Yeah. I've always liked when Desmond Llewellyn gets to do stuff and not just the quick Q labs, which is always there's a moment. There's a moment there where his character could have been killed. Like he's not to jump ahead, but there's a moment where he's like fishing and VJ comes in to relieve Q, you know, take the night shift. But if Q had stayed there, he would have been the one.

[9:23] Olaf: So I like this opening because, no, it's not attached to anything having to do with the movie itself. And I feel like it's one of the few bond. I don't know. There's sort of this sometimes the cold open is it has to do with the plot of the movie and sometimes it doesn't.

[9:41] J.J.: I always like usually they don't. It's just a separate mission. And talking about remembering these movies differently, I when I think back to the beginning, the cold open of a view to a kill, I always think it's this cold opening.

[9:54] Olaf: Oh, interesting.

[9:54] J.J.: Yeah. I always I've when I was watching this, I was like, wait, did I put on the wrong movie? I was supposed to be watching Octopussy. I mean, I was just so funny because I always the cold opening for view to kill, which we're going to get to in a second. I always associate.

[10:15] Olaf: I know that that one is with that because it's so ridiculous.

[10:21] J.J.: It's it's hard to watch this movie in the next one just because he him being noticeably older takes me out of the whole Bond vibe, which is opposite of Connery, where Connery looked great. It was surprising that he was so young, where, you know, I mean, like you watch because he looked so old, even though he wasn't. He was he was young.

[10:41] Olaf: Yeah. You start watching Roger Moore's era and you get to this movie and he's fifty five. He looks older than fifty five.

[10:46] J.J.: Yeah. I thought it was hilarious that in this cold open bond is impersonating a Cuban general because he has a mustache. That's it. And then immediately gets caught like he does. He walks in, he places his bomb mission accomplished, I get. But then immediately gets caught like no one was buying that. He's the guy he's pretending to be because the other guy shows up and he's like, hello, I am Cuban. You are not. You are a British man wearing a mustache.

[11:19] Olaf: It's it's lazy writing. It's lazy storytelling. I mean, this particular movie is not based on the source material. There is really the source material for this movie is non-existent.

[11:31] J.J.: After he gets caught and he's in a he's being taken away in a truck, the guards that are in the truck with them also not Cuban. They're so white that they could they could play Russians for a lazy casting as well.

[11:43] Olaf: Yeah. Oh, my gosh. I was like, who are these guys? They don't look at anything like Cubans.

[11:51] J.J.: Yeah. I thought that was hilarious. And then when everything gets crazy and Bond's getting his tiny jet and he's flying, there is a scene where he flies over all of the Cubans and the Cubans are firing. They show the Cubans firing up in the air.

[12:11] Olaf: But the way it's shot and edited, I was like, who are they shooting at? Bond flew past them so fast a while ago. Now they're just shooting into the sky.

[12:23] J.J.: Oh, and the thing is, with this mission is we have no idea really what he's trying to accomplish. It doesn't really matter. And that's what they're trying to tell us. It doesn't matter what the mission is or what he's trying to do. It's just the fact that he got away and we got the super tiny baby jet plane that he's going to now fly back to into the hangar, which is now going to destroy whatever it was he was supposed to do before he runs out of gas. And we have to tie this up with a bow.

[12:48] Olaf: Well, we didn't know he was going to coast into it.

[12:52] J.J.: Well, I mean, but the idea is that he's going to coast into the gas station and we're going to get to the opening song. Fill her up. And then we're going to get to your favorite part.

[13:02] Olaf: I thought the the cold open was cool, minus the silly stuff. I like the little jet. The explosion was huge. I mean, it's so painfully obvious when it's real and when it's fake. I mean, anytime they show Roger Moore in the plane, you can just tell it's fake.

[13:17] J.J.: But yeah, the plane runs out of fuel and lands near a randomly convenient gas station, which was just down the road from from the Air Force Base or whatever it was. So I don't know. I feel like I'd be a little more concerned about getting caught.

[13:40] Olaf: Now, it's not important.

[13:40] J.J.: Yeah, I guess the general and like everybody else that was in the hangar.

[13:47] Olaf: Yeah. But yeah, then we get the title sequence. All time high. You're a classic bond.

[13:52] J.J.: Morse Bender sequence, except it doesn't disappoint. A lot of trampoline, man.

[13:59] Olaf: I feel like they they're leaning into even more. So like if if your eyes only was supposed to be like the dramatic turn for Roger Moore, there are moments in this movie where they try to do that, but it's masked and covered up and buried by so much silliness that because, you know, if you thought the trampolines were silly, it's the roller skating couple.

[14:22] J.J.: It was the 80s, man. It was the 80s. And they show them a lot in that opening.

[14:28] Olaf: They do. They do show the roller skating couple. And they're very impressive on those skates.

[14:33] J.J.: I guess. Doing the the grabs and stuff.

[14:36] Olaf: I guess. It's like, all right, let's get to the movie.

[14:40] J.J.: Oh, so I know you have an issue. You have an issue with the clown element of it, the circus element of it. I can understand and get behind that being super cheesy, super hokey, super corny. I get it, especially since you get it right after the opening song.

[14:59] J.J.: Right into the action, 009, running for his life, but he's completely made up as a clown. He's even got a silly red balloon tied to him. And I was like, I know you're running, I know you're trying to escape, but at no point were you thinking, I should shed this stuff off as I go. Like, why would I have this floating red balloon attached to me this whole time? I can run and take off this jacket and this bald cap and stupid nose and stupid shoes and just a stupid face. It's stupid. Let me ask you this. If you take away the circus element of the story, is this movie still really bad for you? Like, do you still like this movie? If you take the circus element out and then this sequence would have been a little cooler, the overall movie still would have been super boring, but at least you would have lost some of the silliness.

I would have been more interested in, oh, what's going on? Seeing a 00 agent trying to escape and running for his life. And, you know, he's dressed as an agent and not a stupid clown. We get a clown and that is very distracting because you have no idea what's going on. And then we learn that, yes, he has this Fabergé egg that he's stolen that apparently is a fake. Right.

[16:20] Olaf: What? Sorry. Right. You lost. No, no, no. It's OK. That's the movie. What they're trying to do here is they're trying to put Roger Moore and James Bond into situations that one are going to limit the actor from a stunt standpoint because they had to use a stunt guy for everything in the last two. But they put a medic. He's playing dice. He's playing backgammon now instead of cards. So I mean, Roger, Roger Moore's Bond made a habit of doing all the non Bond things, smoking cigars, cigarettes and not drinking the vodka martini, not drinking that, not doing not the car. Yeah. Yeah. No, I haven't. But I'm just saying they are creating these are putting him in these situations to give him things to do that. I can understand why this is boring and why this why you feel this is slow. Well, nothing really happens. And it's just a lot of talking. And the plot is kind of silly and confusing and doesn't. Yeah, it's I don't like this movie.

[17:34] J.J.: OK, so let me ask you this. Were you buying Mod Adams as a decent counterpart to Bond in this movie? I guess they have some scenes together where it's like, OK, I guess they're going to have a relationship maybe or she wants to have a relationship with him. But she's also still going to be kind of straddling the she's the line between good and bad. Right. She's clearly smuggling diamonds or smuggling jewels. And that's her business. And you find out very quickly. And this is the only thing that's actually part of the source material is that Bond befriended or there was he might have been an agent who ends up being Mod Adams' dad and Bond lets this person commit suicide because he's dying or something. And for that, she's like, yes, thank you for giving my father like a proper send off. So I'm you're not my enemy. And they sort of wrap that up really quickly because other than that, that's the only real thing from the source material.

[18:33] Olaf: Yeah, it was dumb. Hey, you get India. You get you get India. You like movies. And you said in India there were no there was elephants. That was a lot of cool stuff. I do want to say before we get away from it, because we're well past it already. The new M, when he shows up, the big difference between him and the other M's is he's much nicer. He likes he loves Bond. He loves we've had for years and years and years. Yeah. He's like, I do like you, Bond. You're one of my if not 20 years of M, like despising Bond. And all of a sudden, this for no reason, this guy is pats on the back, smiles, be safe. Hope you're OK. Yeah. Yeah. Like, I think I think he does a great job of just coming in and filling in for M. But yeah, I would say that's the biggest difference is he's nice.

[19:29] J.J.: Yeah, I know. I would agree there, too, because I noticed that immediately. And I immediately thought of you because of your. Yeah, I've been clocking you. You have been clocking it and observing it through this whole. Why is he so much? I don't know. But he loves him now. New M, new relationship. Yes, I completely agree with you there. Now you mentioned that they go to India. So Bond arrives in India and he hears the Bond theme song being played to charm a cobra. And he's like, oh, that's for me. So it's the first time it's ever been used like the Bond theme song is following him around in real life. I guess John Barry and his orchestra are just following him around. How does he know that is very meta, right? It's like very didn't like that.

[20:17] Olaf: Oh, you didn't know because it just made it it made it sillier. Like this movie is already silly and stupid and dumb and boring. But then you threw that in and I was like, he shouldn't know what that is. This is part of the guilty pleasure, man. You just got to go with the ride. It's not claiming to be one of the better Bond movies, especially now. Like I really do feel like they're just trying to get through this one and make it as entertaining as possible. It's entertaining for different reasons than Never Say Never Again was entertaining. People could watch Never Say Never Again and be entertained by the action sequences because the action sequences in that movie are far superior than this movie. For whatever reason, they are the way they're shot, the way they're executed. The action sequences in this movie don't exist. There's not a lot. Bond is driving in a car that gets chopped in half and he's driving around London with half a car. It's shenanigans.

[21:15] J.J.: Yeah, there's a lot of shenanigans. There's so much. You also said when you talked about he's playing dice now instead of cards. He's playing backgammon. Yeah, and we get to see the big thug of the movie, which I don't like this movie, but I thought he was a great thug. I was mixed about it because I think he gets better through the course of the movie. I think initially I'm like, this dude is not good. I don't know. I was just like of all the thugs in the James Bond universe, I was like, he's pretty good. I like he was pretty good. He was very, his presence was very noticeable. He does that. He crushes the dice, crushes the dice now like a job crushes, crushes it like a job, crushes the golf ball. And yeah, except the only difference is, is those two tiny dice produce so much, much debris, so much. I was like, where, where's the loading from? They're loaded dice. There's something in those dice.

[22:13] Olaf: A couple of buckets of sand. Here's my biggest issue with this movie on my list. I had problems and one of them was his age opening credits. The circus, my biggest surprise to me because like leading up to watching this movie, J.J.'s like, I love Octopussy. It's a great movie. I can't wait to watch it. And I'm like, oh man, I dread it. It's not taxing on me for whatever reason. It's this mental thing. I have it. I will forgive it. I will give it a pass. I will give it a pass. OK. Here's the thing though, that I've always had issue with, with the whole Roger Moore era, they can't use Blofeld because of legal reasons. So they can't associate themselves with Spector or with the Blofeld character or anything to do with that.

OK. So what they've done for whatever reason is they've incorporated General Gogol and this Russian sort of store sub storyline throughout this through line throughout the course of his movies. And then the Prime Minister is always in M's office just hanging out, doing things. But my biggest issue is, is the Russian General Gogol. And then now they, they try to take it a step further with Steven Berghoff's character. Cause he's the main, I guess he's sort of one of the main antagonists along with Louis Jourdan. But I, it just feels like they're shoehorning this storyline because it's the 70s shoehorned in it. It's just like this, it doesn't work. It never, it didn't work in For Your Eyes Only.

It didn't work because, because General Gogol shows up in The Spy Who Loved Me. And that makes more sense because of Barbara Box characters, the Russian spy. Yeah. But then he sort of randomly shows up in Moonraker. He's in the last scene in For Your Eyes Only, or one of the last things in For Your Eyes Only. And then he's sort of in more of this movie, but it's completely unnecessary. It doesn't service the story in any way.

[24:06] J.J.: No, it's stupid. Like this movie, this movie is so dumb. Like we could spend so long talking about this movie. Cause I have notes. I took so many notes because there's so many stupid things, but I don't want to waste all this time on this movie. What I love is what you've done is you've somehow managed to get me to talk about all the things that are wrong with this. Oh my gosh. I'm just going to, I'm going to, I'm going to do a quick, just a quick synopsis of some of my notes here. I wrote so many puns. They never stopped. That's too many. That's Roger Moore. It's all Roger Moore, but there's more in this movie than any of the other Bond movies. I think more is more, right? You can clearly see the nail bed is rubber nails when they're fighting in the market in the marketplace.

Yeah. And he throws the bad guy on the nail bed. And you're like, well, that's not real. Q Branch has all the Indian stereotype gadgets. It's like, it's like Q Branch is getting a little racist. Are the other double agents getting short, short, the short stick here? Does this Q Branch travel wherever they are too? Cause it just feels like either, either double O seven is not good and he needs all the help he can get. So we're going to send Q out there to give him all the gadgets, which he never uses. Yeah. Or he is top priority because he is so good. And he gets all the gadgets. It's like, man, no wonder these other double O's don't survive. No other than double O nine got a knife in the back. Q wasn't there to help him out. Yeah. This movie sucks. It's not, it's great. I'm kidding. And then there's a scene where the femme fatale is trying to get the real Fabergé egg.

[26:46] J.J.: Oh, Magda. Oh, the mirror. Are you talking about the mirror? The egg behind her back and she's sitting in front of a giant mirror. Hey man. I was like, she's, she's so pretty. She's so pretty. I'll give her that. Oh my gosh. So to add on, not to pile on to that, because trust me, I got problems with the, I got problems with the next movie too. We go to the Octopussy Island and all of the guards are super, well, all the women on there are supermodels, but the, all the guards are dressed as the greatest American hero. Yes, they are. They're all wearing the same costume. And you, it's funny. I don't know if there's a note there, but it feels like maybe that was some sort of like the show itself came out around the same time.

So I don't know. I don't think one has anything to do with the other. To get through the circus though. So I already mentioned that Bond's driving half a car. They, they, the bad guys have now set a bomb. They've, they've somehow switched the jewels with a bomb. Yeah. I was like, I don't know what's happening in this movie. They've got a set time. I don't know what the plot is. Right. But here's, here's something that I was, I clocked this last time I'm watching. So they keep going back to the timer. Like it's going to go off and this is the amount of time by the time Bond gets back to the circus. Cause he's now the cops are after him and he's got to hide. We skipped over the fact that he dressed up as the other twin when he looks nothing like the twin.

Right. But he now has less than five minutes to evade the cops, get into a disguise, find the bomb and disarm the bomb. You're trying to tell me, you're trying to tell me that I'm trying to tell you that this movie is stupid. He gets to the location. He gets to the circus. He goes into the clown dressing room, puts on the whole outfit and the makeup and then gets to the circus, gets to the bomb. And then all he's got to do is take the bomb out. Like he does all of that in less than five minutes.

[28:06] Olaf: Yeah. Super impressive. OK. Less than five minutes. I just went to my notes because I, I also wrote that down that he got meticulously dressed up as this clown makeup, everything within seconds. But as I was doing that, I also saw another, I have so many notes on this movie because it was so stupid. Everything was stupid. Bond being hunted in the jungle, tigers, tarantulas, leeches. Bond does the Tarzan call and has a blonde wig. And then he's saved by the Cincinnati, Ohio moose lodge. One of my other notes was I don't quite understand the plot. Something with jewels and fake jewels and Russia and a nuclear bomb disarmament and open border snooze ZZZZ. I fell asleep. There was too many things going on too.

They've got to cater to an AA, a double ARP bond. And none of the stunt guys in this movie look anything like Bond. Like the wigs are so bad and mis-colored and it's this movie is at the bottom of my list for a reason. OK. It's not high on this list. Another dumb thing that I saw when Bond is getting to back to the circus after getting separated and he's evading the cops, he blows through the U.S. army base checkpoint and the guard behind him's like, Hey, and he just shoots a couple of times into the air. What are you doing? Where are you shooting at him? Yeah. Shoot at Bond. Don't shoot in the air. Those bullets are coming down.

[29:49] J.J.: Yeah. OK. So we can agree. We can agree that the highlight of this movie is Q being involved in the action because he gets to be involved in the action one more time at the end with the hot air balloon randomly coming in. We're going to.

[29:58] J.J.: Attack a stronghold with circus performers and unpowered Greatest American Hero women. And what's Q bringing? He's bringing a hot air balloon, which he uses to take out some bad guys and then the girls love him. He's slowly sneaking up on these guards. It's so dumb. And look, this movie has a lot of problems. Octopussy sword fights a guard who has an AK-47. She's using the sword and he's just using the gun to... Maybe he's out of bullets. He never fired any that we saw. Oh, and then during the big stronghold battle, at one point there's a woman on a trapeze. When did they set that up? Where'd that come from? They're playing to their strengths. They're using the things that they have at their disposal.

They clearly do not believe in guns. And there it is. And then my last thing about this movie before we thankfully move on. At the end of the movie, Bond is in traction. Yes, he is. And not only is he in traction, he's been in a hospital to be in traction, then moved from the hospital and taken to Octopussy's place, which, you know, maybe that's part of a day or a whole day or a couple days depending on where all this is taking place. You're telling me in all this time, he's just been pretending to be in traction just for the moment that he can reveal that he's not in traction? Well, I think we see him on the day that he finally is feeling good. He's feeling better. He's feeling good. And look, they set up the entire traction system.

I said this at the beginning. Guilty pleasure. This has a soft spot in my heart. I gave it a pass. It's in the bottom five of my Bond list, as we've known. But I got to tell you, the next movie isn't that much better.

[32:08] Olaf: Well, isn't that much better? I'll give you a hint. The critics in the audience agree with you on this one. Thank you. So next up, we've got A View to a Kill. A View to a Kill. His swan song. His swan song. He's finally decided this was it. The runtime on this is the exact same as Octopussy. Okay, Rotten Tomatoes score. Gotta guess. Forty. Thirty-six. Thirty-six percent. I saw that and I was like, wow, it's that low? Yeah, you wanted it to be higher because you like this movie. I thought it would be upper 40s, low 50s. Okay, so that's the Rotten Tomatoes? That's Rotten Tomatoes. Okay, so the audience score is? What do you think? What was it? Thirty-six? Thirty-six percent. Forty. Bang on. Forty percent.

People did not like this movie, and that's a shame. They have every reason not to like it, but we'll let you get to your business. I guess this is my guilty pleasure. This is your guilty pleasure. Growing up as a kid, I always enjoyed this movie. It's an interesting point you make because I'm a couple years older. This movie, A View to a Kill, would have come out at the same time that Octopussy came out for me, so maybe the lens in which we're seeing it initially gives us that. I didn't mind A View to a Kill when I was younger, either.

[33:40] J.J.: It just hasn't aged well. None of those Bond movies have. I could watch Spy Who Loved Me and that's fine. Live and Let Die, they don't lose their luster. Even For Your Eyes Only doesn't lose their luster. Well, those are good movies. We're talking about three movies out of seven. A View to a Kill is not good. It's not. John Glenn, he's back as director again. I'm not sure about his track record with these movies. Well, is this his third one? This is his third one. John Barry's back as the composer still. It's amazing that he's done this many. Then we get Tonya Roberts as Stacy Sutton. One of the problems in this movie. I mean, she's not great. She's awful. Well, I'll tell you who is great. Grace Jones as Mayday.

She's great. She's great as the thug. Henchmen slash femme fatales. She's doing both roles. And then she's got such a cool name, Mayday. Yeah, she does. Grace Jones was great in this. Yeah, barring on top five henchmen slash femme fatales of the series, of the franchise.

[34:51] Olaf: Yeah. We get Patrick McNee as Tibbet. Yeah. So we're bringing an Avenger in and he took the role just because he wanted to work with Roger. And just so everybody's aware, when we say Avengers, we mean the old 60s spy show with Diana Rigg, who was Teresa in Honor, Majesty, Secret Service. So it was nice to see Patrick McNee there. Fiona Fullerton as Pola Ivanova. Alison Doody as Jenny Flex. This is her debut. I never clocked Alison Doody until this last rewatch. And when she first came down the stairs, I went, wait a second. Yeah. I remember a while back reading that she was in this movie, but I always forget. Man, that one. And I'm really good at like faces and things like that. This one threw me big time when I saw it. I was like, oh, man, it's Alison Doody.

[35:41] J.J.: Yeah. She was like 18, 18, 19 when she made this movie. Yeah. This is her film debut. Another film debut, Dolph Lundgren. Yeah, he's got some sort of cameo as a Russian. He plays Venz. He actually has a name. Wow, they gave him a name. Yeah, they gave him a name. He's in one scene and he's in the background, clear in focus, and he looks so lost, so clueless. That's crazy. It's so funny to watch. This came out the same year as Rocky IV. Well, this was his first role. Right. This was his debut. Just saying, later on, he ends up- So he's already on set because he's dating Grace Jones, and then they just needed a heavy to be a guard, so they just grabbed him, threw him in a suit, and put him on there.

So you can see that he's like, I don't know what I'm doing. What am I doing? I've never acted before. That's so funny to me. That's hilarious. So watch that scene and just watch him in the background, and it's pretty funny because he's just kind of like looking around. It's very funny. And then we get the amazing Christopher Walken playing Max Zorin, which honestly, I really liked. His performance has aged like wine in terms of being the villain because I think initially for me, I thought, man, this dude's way over the top. I didn't understand what he was doing. This is younger, when I was younger. But of course, you watch it more. He and Grace Jones are the highlights of this movie.

[37:20] Olaf: Yes. They make this movie somewhat watchable because this movie, to me, is trash.

[37:28] J.J.: Oh, boy. It is not good. And it all starts with the cold open. Speaking of gems, we got Mayday, we got Zorin, we've got A View to a Kill, Duran Duran.

[37:52] Olaf: Oh, yes. But we don't get that until we sit through the cold open.

[37:56] J.J.: I know. I love this song, by the way. This song is probably top five.

[38:02] Olaf: It's so good. John Barry, not a fan.

[38:04] J.J.: No, he wasn't. He was like, he didn't like the fact that they were using a, I'm like, they don't want to rock. This isn't the first. This isn't the first time.

[38:12] Olaf: Yeah, I know. But, you know, they kind of pushed against Paul McCartney, too.

[38:16] J.J.: They did. They did. But man, Barry uses that view to a kill theme all movie like that's like his go-to theme.

[38:25] Olaf: So this is Lois Maxwell's final Bond film, and it brings her total screen time across a 23 year span of James Bond movies to just one hour.

[38:33] J.J.: She had like less than 200 lines or something throughout the whole run.

[38:38] Olaf: Yeah, fewer than 200 words. Yeah, crazy. Over 23 years in a huge franchise and your amount of screen time is under one hour of movies that are she probably easily two hours a movie.

[38:57] J.J.: Yeah, she probably worked a total of 30 days total, probably when you think about like we're going to need you. She's only in like one scene in every movie, minus a couple of them where she's in like in this movie, she goes to they go to the racetrack or whatever. And so she's in more of it. But yeah, this is Roger Moore's least favorite of his Bond movies.

[39:16] Olaf: Rightly so.

[39:17] J.J.: But he says it was because of the increased violence and that he also felt too old for the part. Like, I think he's quoted as saying, I wrote it down. I was only 400 years too old for the part is what he said later on in an interview.

[39:31] Olaf: Yeah, which, you know, I didn't mind the audience agreed.

[39:37] J.J.: I didn't mind the violence. I thought it was taking a more serious tone.

[39:44] Olaf: Well, I think for him, it was the idea and we're kind of jumping and we're going to go back to it at the end when Christopher Walken's character takes a machine gun and just starts taking out everybody in the mind. Like that didn't seem very Bond-esque for Roger Moore. And in this movie, ironically, he doesn't shoot a gun except the shotgun that's filled with birds.

[40:03] J.J.: He yeah, he doesn't really pull his gun, which I thought was interesting. And the other interesting fact before we really get into the movie is Roger Moore and Grace Jones did not get along. He did not like her, but she had no problem with him. Like, I think the idea was like later in an interview, she's like, I thought my time with him was great. I enjoyed my time with him. But yeah, like when she's playing her music, like super loud in the dressing room and and he has he's not about any of that.

[40:34] Olaf: He's not about any of it. He's like, whoa, whoa, whoa, what is happening? But it's a new generation and he's not ready for it.

[40:41] J.J.: Yeah, he's like, get off my lawn.

[40:45] Olaf: Fifty-seven.

[40:48] J.J.: Fifty-seven. OK, can we jump into this?

[40:50] Olaf: Let's jump into the open.

[40:52] J.J.: OK, there is a moment where when it starts, I'm like, oh, this is cool. I've always been a fan of Bond in the ski element. I mean, any sort of I guess any time they put him in that. But I was also like Bond is searching for a locket and a microchip in the snow with a ton of Russian soldiers. It just seems really random. How did it end? But and this is tied to well, he's mid mission. Isn't this what you kind of like?

[41:17] Olaf: Yeah, yeah, no. And I do like that. But like it was almost like he's standing around in the middle of all these soldiers.

[41:21] J.J.: Yeah, I know. They don't know where he is or whatever. They can't see.

[41:24] Olaf: But they're all dressed in white there. But he's blending in with the snow.

[41:29] J.J.: I don't know. That part was kind of. But the ski stunts were very cool. The rear projection, however, not so much to me that this this the ski moment. And of course, we know we're talking about where the cover of the of California Girls by the Beach Boys comes on, where he's now skiing on one like he's he's snowboarding, snowboarding.

[41:54] Olaf: Well, he takes that front bit of the snowmobile to make a snowboard, which for this new generation, this is kind of a new thing. Honestly, if you hadn't put the stupid Beach Boys cover in, that would have been a cool scene.

[42:07] J.J.: I can agree with that completely dumbs it down.

[42:12] Olaf: It dumbs it down. And to me, it's the worst action scene in a Bond movie until die another day when when Pierce has to do this thing.

[42:18] J.J.: I think it's just because of the Beach Boys song.

[42:25] Olaf: Yes. And for me and I think for the viewing audience to at this point, because we know he's old, he's 57, it's not him. And we know that already. So you talk about things that take you out of the action of the movie at the beginning, first three minutes of the movie. I'm like, what?

[43:03] J.J.: Yeah, I wrote down. It seems like Roger Moore isn't ever actually in the snow location. He's in a warm place somewhere just doing pickup shots.

[43:09] Olaf: Well, and they even say like he's not actually in the look where they shot this, where they shot this scene. He's not there. You can tell every time they go to him for a close up. It's like, right. I don't think you're actually there.

[43:16] J.J.: Yeah. He just looks so old. And it's unfortunate because even when he gets he escapes the Russians and he gets into the iceberg, that's not a real iceberg.

[43:23] Olaf: Yeah. The iceberg sub his partner, the girl is like thirty five years younger than it's like it's not working.

[43:29] J.J.: Now, I did write this down. I wonder if you would agree with me. I said Bond is old, though it sort of works just because the movie also feels old.

[43:38] Olaf: I guess. I mean, I put I put he looks so old. Everyone is old. It's like Patrick McNee, you old.

[43:47] J.J.: Yeah. Lois Maxwell. Old.

[43:51] Olaf: Yeah. Bernard Lee, this is only your second movie.

[43:56] J.J.: Oh, like everybody is old. I'm not Bernard Lee. Not Bernard Lee. I'm sorry. I'm sorry. I was going to say what's his name? We're on M Watch. And I wrote down M is almost like in love with Bond now.

[44:09] Olaf: Man, it's like a 180. It's it's like those movies where they're like, what happened to him? He looks different. He's not acting the same. And you're like, no, man, because he's not as a different actor, as a totally different dude.

[44:28] J.J.: Yes, is not M. No, not so funny. It's so old. Yeah. Oh, everybody. No. What does the movie look old? I guess I guess you could say that he looks old, that the movie itself looks old. It didn't at the time, obviously. So no, it didn't. Roger sticks out even more as being old then. But when you watch it now, it's very grainy. It's very I mean, the movie looks old.

[44:57] J.J. Gonzalez: The horse race looks old, the locations look old. So it doesn't, Roger Moore doesn't stand out as much. As he kind of blends in with everything else being old. He doesn't stand out until he's next to Tonya Roberts.

[45:11] Olaf Adsit: Well, then there's that. And she is not good in this movie. She is like not a good actress. And she's like in Beastmaster before that. I think she was in Charlie's Angels before this. She's terrible in this movie.

[45:25] J.J. Gonzalez: No, she's not great. It was hard to watch because her acting is...

[45:29] Olaf Adsit: Yeah, which was why her career never really took off after this. She was really hoping it would too. She's like, Kim Basinger did Never Say Never Again and then got The Natural. Let's see what happens.

[45:40] J.J. Gonzalez: Yeah, that's why she did this movie. That's why she did it. But according to John Glenn, she was really difficult to work with too.

[45:46] Olaf Adsit: Yeah, I heard that too. It's very demanding and things of that nature. Like a lot of movies, you get the title of the movie in the movie. They're going to say the title of the movie in the movie. And James Bond movies have been sort of consistent with that, whether it's the name of the person or the name of whatever device they're using or whatever. So they find a way to throw it into the movie in some way.

[46:10] J.J. Gonzalez: This movie does a really bad job of just like... It really stood out. Forcing the name of the title. Also, because even now, I still don't get the title. It's never bothered me. But if I try to think about it, I'm like, okay, I don't get it. But cool. I mean, I guess the idea is that Max Zorin's plan is to blow up Silicon Valley so he can create his own thing and sort of corner the market of whatever he's trying to do.

[46:36] Olaf Adsit: It's very Goldfinger-esque of trying to...

[46:38] J.J. Gonzalez: Yes, it's very reminiscent of Goldfinger. So when they're in the top of the blimp and all... I love Mayday. Mayday's line is great. What have you? Great. You can just stop right there. And then he says, to a kill. What? Like, I wanted Mayday to go, like, do a side eye. Like, what? What does that mean? What? What are you talking about? I don't understand. What does that mean? What you're trying to say there. Meanwhile, he's like, I was forced to say it. You know, like, it almost feels like it's in the script. I had to write this down because it was so stupid and silly. The whistling butterfly act an assassination by butterfly.

[47:19] Olaf Adsit: Yeah, speaking of movies that look old, this whole scene looks old. Like the Eiffel Tower. Then they go inside and then they close the windows.

[47:27] J.J. Gonzalez: Yeah, it just becomes very...

[47:29] Olaf Adsit: Yeah. My question about this butterfly, was it poisoned? Because...

[47:33] J.J. Gonzalez: I think so. I think this was a... It really did very little damage to the guy that... To his cheek. Killed him. More than likely, it's poison.

[47:42] Olaf Adsit: Yeah. Yeah, it's the side of his face. Not lethal. Just gonna hurt. I just love how prior to that, there is somebody like who's in control... Who's in charge of making the butterflies fly around the restaurant as part of the show.

[47:57] J.J. Gonzalez: Yes, out of the open too, by the way. Out of the open. And then Mayday comes in and sort of like...

[48:02] Olaf Adsit: Takes over.

[48:03] J.J. Gonzalez: Takes over. That was... It's so bad.

[48:06] Olaf Adsit: Yeah. Even the jump off the Eiffel Tower is kind of cheese ball.

[48:11] J.J. Gonzalez: Well, during that point, you can tell that the stunt person for Mayday is a dude.

[48:17] Olaf Adsit: And white.

[48:18] J.J. Gonzalez: I didn't catch that.

[48:21] Olaf Adsit: Yeah, there's a quick moment where the stunt guy is like climbing over the railing or something. And I think it was his pants or maybe his sleeve shifts. You can tell that's a guy and he's white.

[48:35] J.J. Gonzalez: Right. Yeah. Two things Mayday and Grace Jones are not. I've got so many notes about why this movie is bad. And I want to focus on the fact that Grace Jones, because she hadn't done a lot either, is really owning everything she's doing in this movie. She's not the greatest actress, but what she's doing does not bother me.

[49:01] Olaf Adsit: She was great in this movie. And she's one of the few people that goes out on her own terms. She makes that choice to sacrifice herself. I thought that was cool that she eventually turns into a good guy.

[49:12] J.J. Gonzalez: Yeah. Well, when she gets double crossed, she wants to live, too. And then Christopher Walken's character, which was originally written for staying, and then Rutger Hauer turned it down, which he would have been a pretty cool choice.

[49:27] Olaf Adsit: Yeah, he would have been good, too. But I thought Christopher Walken was awesome. Because like I said, aging well, when you realize why he is the way he is, like he was created this way out of a lab, whatever the eugenics thing.

[49:41] J.J. Gonzalez: Yeah. Then all of the choices he's making make sense. Nothing he does seems out of pocket. You know, where I think at first glance, you're like, he's just crazy. You'd be crazy. You're like, no, there's a reason why he is the way he is. He never struck me as like insane or anything.

[49:56] Olaf Adsit: Well, I mean, he was calm, collective. Sociopath.

[50:03] J.J. Gonzalez: Well, yeah, but he didn't play.

[50:05] Olaf Adsit: No, he doesn't.

[50:07] J.J. Gonzalez: You're right. A big thing that I noticed about this movie. Uh-huh. I know we talked about the stunt guys for Bond in Octopussy, but it went to a new level in this movie. They're not even trying to hide the faces of the stunt guys in this movie. You see the faces of the stuntmen so many times. And it's so clearly not Roger Moore. I just I had to write that down. I was like, wow, this is it's so bad.

[50:35] Olaf Adsit: And then General Goal goes back and what seems to be very they try to make it relevant, I suppose. But it seems also very unnecessary where Bond then now meets up with another Russian agent who originally was supposed to be Barbara Bach's character from Spy Who Loved Me, but she didn't come back. So Paul Ivanova is cast. And then we get this scene in this like hot tub parlor where they're trying to get information. It makes no sense.

[51:04] J.J. Gonzalez: Yeah. It doesn't the scene doesn't work. And then she gets what she thinks is the information, this cassette tape with whatever information that she's trying to steal. She gets in a General Goal's car. They drive off and they realize it's not the right tape.

[51:20] Olaf Adsit: Yeah. And then they exchange this goofy, dumb look at each other. And I'm thinking, just go back to the hot tub place because Bond is still there in his robe waiting to the real tape. Just go back.

[51:35] J.J. Gonzalez: It was dumb, dumb. I will say just before all that happened, Bond is in a black tracksuit, which you've never seen Bond in a tracksuit before, and it makes him look twice as old as he already is. I was like, who chose this? Now he looks like an old grandpa shuffling around in his tracksuit.

[52:04] Olaf Adsit: These two movies are just silly. They're just silly.

[52:06] J.J. Gonzalez: They are. The last two Bond movies. They're silly. And I didn't I didn't notice. And I wrote this down. I was like, this movie is tradition versus MTV.

[52:15] Olaf Adsit: Yeah. I mean, we're talking right in the middle of the 80s.

[52:18] J.J. Gonzalez: Yeah. MTV is at its height. I mean, it's there. So you're bringing in these younger, cooler people that are raging against the old traditional ways.

[52:28] Olaf Adsit: The establishment.

[52:29] J.J. Gonzalez: Yeah. And this is you can tell too. The computer effects of this are also terrible.

[52:33] Olaf Adsit: Well, even if it shows, too, I think in the box office, I'm pretty sure it did OK at the box office. But even the audience is like Bond is old, man. Like this isn't it's time like we need something different.

[52:44] J.J. Gonzalez: It's funny because the highlight of this movie, like we said, is Christopher Walken, Grace Jones, the villain and the henchwoman, Femme Fatale, are at another level than the main character and even the Bond girl.

[52:57] Olaf Adsit: And I said Tanya Roberts reminded me of Denise Richards, Christmas Jones.

[53:03] J.J. Gonzalez: OK, so she's definitely down there in the cellar because at least Christmas Jones was a doctor like a man.

[53:12] Olaf Adsit: Wow. OK, I mean, Stacy Sutton has got like her grandfather's house that she's got to like try to hold on to wants to do stuff with the I don't know, environment or whatever. I don't even know what she's doing. She's got a seismic reader in her bedroom tracking earthquakes.

[53:30] J.J. Gonzalez: I'm not sure what's happening in San Francisco.

[53:32] Olaf Adsit: I know. I like that Mayday's signature kill is hiding in someone's back seat for who knows how long. She got a couple of people that way.

[53:41] J.J. Gonzalez: Yeah. We failed to mention the guy from Temple of Doom. When he shows up, I was like, hey, when Bond gets to San Francisco and he like meets up with the CIA agent, it was supposed to be Felix Leiter.

[53:55] Olaf Adsit: Oh yeah, yeah, yeah. Because they were in Chinatown.

[53:57] J.J. Gonzalez: Yeah. They decided to cast, you know, somebody else. And they went with the guy from Temple of Doom who plays his partner.

[54:04] Olaf Adsit: Obi Wan.

[54:05] J.J. Gonzalez: I go first.

[54:06] Olaf Adsit: I go first. I don't know if you notice this, but I wrote it down. The San Francisco Police Department seemed like they were transplants from Chicago, like they just pulled the Chicago police over to San Francisco for this movie.

[54:21] J.J. Gonzalez: I didn't notice that. What I thought was interesting is when they get rescued from the fire, you know, they're in that building and it's on fire. Bond feels like he needs to escape. Like, hey, I'm British Secret Service. They don't believe him. A simple phone call to MI6 would have cleared this up. But instead, I'm going to turn the fire hose on and I'm going to blast everybody. And then we're going to get in this fire truck. We're going to steal the fire truck.

[54:49] Olaf Adsit: The authorities for the final act of this movie. We're going to shoot a scene out of the Blues Brothers with a fire truck. That's what it's like.

[54:55] J.J. Gonzalez: Oh my goodness. So after they escape in this fire truck, they drive through the night in the fire truck. They don't ditch it and get a real car. And no one no one chases them. The San Francisco guys got stuck at the bridge and they're like...

[55:11] Olaf Adsit: Yeah. By the time the bridge got down, they couldn't catch the really, really fast fire truck.

[55:15] J.J. Gonzalez: I just I was like, you guys went this whole time in this fire truck. Nobody comes after you after that. By the time we get to the final act, I'm like this. No, it's I mean, I was over it before then.

[55:27] Olaf Adsit: I've always enjoyed and still enjoy the fight on the Golden Gate Bridge. It's iconic. They put two people up there for real. Like they had two stuntmen up there for real and shot some stuff. So credit to John Glenn and his insanity for doing that.

[55:40] J.J. Gonzalez: Yeah, I really like that. The shots are so cool. And when Max Zorin is about to die, I just love Christopher Walken's choice to start laughing right as right before he falls out. It was just really good. I've always liked that scene.

[55:55] Olaf Adsit: I did like the Zeppelin hot air balloon coming out of the...

[55:59] J.J. Gonzalez: The like trailer construction.

[56:01] Olaf Adsit: Trailer.

[56:02] J.J. Gonzalez: That's cool. Not sure how they're going to get that back in there, but I guess that's not part of the plan.

[56:05] Olaf Adsit: Well, I think it was always meant as a one and done. And then we get the very end on save the day, blah, blah, blah. They're looking for Bond. But here's the thing. Q is on a stakeout search for Bond, who was missing.

[56:18] J.J. Gonzalez: Right. They presumed dead.

[56:20] Olaf Adsit: Yeah. And they get that scene with the Moneypenny's last scene. Last scene. Crying over what she believes Bond's demise. What a lousy way to go out. That's your final scene as Moneypenny.

[56:31] J.J. Gonzalez: But here's the thing. Why didn't Q just go knock on the door? Why is he on a stakeout and sneaking a robot into the...

[56:37] Olaf Adsit: There's no bad guys. There's there's no need for sneaking. We're just looking for Bond.

[56:40] J.J. Gonzalez: Hello, is Bond here? Yeah, I'm looking for James Bond. No, instead, I'm going to be in a van and I'm going to put my way and sneak this robot into the shower.

[56:52] Olaf Adsit: Yeah. And then when I see that, I found Bond and what he's doing. I'm not going to back out. I'm going to extend the neck so I can get a shot. And then we see Roger Moore literally throw the towel in like he's throwing the towel in and saying.

[57:09] J.J. Gonzalez: Goodbye, everybody. That's it for me, everybody. I'm out. And fun fact, he almost came back again.

[57:17] Olaf Adsit: Spoiler alert for our next episode, he doesn't.

[57:23] J.J. Gonzalez: So I'll mention this now, but we'll probably mention it again in the next episode. But Roger Moore was like, I don't want to go out on the movie I just did. I want to do one more. So he calls up the broccolis and he says, I'd like to come back for one more. And then they say, we've already moved on.

[57:40] Olaf Adsit: I mean, it's unfortunate because you talk about Roger Moore, who came into this with a lot of negative eyes on him because of the Connery love. But he ended up over seven films, turning this into a billion dollar franchise.

[57:54] J.J. Gonzalez: Yeah. And so it is a testament to him. The longevity didn't help, but it didn't hurt either because the movies were still making money. He just didn't age well.

[58:04] Olaf Adsit: Yeah. I mean, at the end of the day, I know it's not a good movie, but I don't know. Like you with Octopussy, I don't mind it. I give it a pass. And I'll watch that over Octopussy any day.

[58:15] J.J. Gonzalez: Watching View to a Kill this time around, I think because I hadn't seen it in a while, it wasn't a struggle. It wasn't work. I was looking forward to seeing it. But I already was going into it going, the problems that this movie has, I'm not going to give a pass to as opposed to the other where I would. And I do. But guys, we made it. The era of Roger Moore is behind us and we can move forward.

[58:42] Olaf Adsit: It is a new era of Bond.

[58:44] J.J. Gonzalez: It's a short era.

[58:45] Olaf Adsit: It's short.

[58:45] J.J. Gonzalez: It will be a new era. Unfortunately, it's short. But next time we'll be talking about Timothy Dalton and his short run as James Bond. Until then, guys, we hope you enjoyed this. Always join us in the theater. We love talking about movies and we love all of you who are still listening.

[59:02] Olaf Adsit: Yes. Whoever's out there. We appreciate it.

[59:05] J.J. Gonzalez: Yeah, we appreciate it.

[59:06] Olaf Adsit: Yeah. We appreciate it. We hope that you guys are enjoying this as much as we are putting it out there for you. And until then.

[59:15] J.J. Gonzalez: To be continued.

[59:20] Johnny Clay: Back to the Movie Theater is hosted by J.J. Gonzalez and Olaf Adsit. Produced by me, Johnny Clay. J.J. Gonzalez and Olaf Adsit. Theme song and incidental music by The Dimes. Visit us at bttmtpodcast.com for trivia, playalongs, merch, and more. That's bttmtpodcast.com. Follow us on Instagram and TikTok and find us on YouTube at Back to the Movie Theater with J.J. and Olaf.