The Banshees of Inisherin [feat. Evan Szymanski]

[00:00:15] Speaker A: Hey, everyone. I'm Brian and this is Snorkeling in Popcorn. Brian talks about movies. Today I am joined by my good friend evan Shermansky. He is also my former co host of the differing cinematic tastes of Jello and Oliver. He was Jello. I was Oliver. Evan, hello. [00:00:32] Speaker B: Hi. You make it sound like I know what I'm doing with podcasting. [00:00:40] Speaker A: Well, we did technically have a podcast. [00:00:43] Speaker B: That's true. But we are having a podcast that does not make an expert in podcasting. [00:00:49] Speaker A: That is true. So, people, you may be wondering well, no, because I haven't even said what movie we're doing yet. But I will just say this is not the movie 65 which I teased at the end of the last episode. That one's going to be tough, just getting my brother and sister and me together in a room somewhere. I did not see this in theaters this year or at all because originally I said, hey, I'm going to do movies I saw in theaters this year, which I still plan on doing. But I also said that I would do other things I've been watching. Anyway, today we are talking about the classic Disney movie 2022, the Banshees of Innis Sharon, starring Colin Farrell and Brendan Gleason. And yes, technically it is a Disney movie. I laughed when I oh, right, because they bought Fox. Yeah. So I was on Voodoo, I think, and at the bottom, it's like studio Walt Disney pictures. I was like, yeah, I guess so. [00:01:51] Speaker B: Yikes. [00:01:53] Speaker A: It's a bit of a rough Disney movie. But, yeah, this was I'd wanted to see it in theaters. I did not get to it because know, like an artsy ish movie and our theaters don't do it a lot. And at that time, I wasn't, you know, really going to the movies a lot. I hadn't really gotten back into the full throes of it. But for a quick summary and it's a weird movie to describe, wouldn't you say? [00:02:21] Speaker B: Sorry, I was looking at something else. Yes, it is kind of a weird movie to describe. [00:02:27] Speaker A: Well, before we get into the plot again, I don't know, I fancy myself a movie guy and we used to do the thing where we would watch all the Oscar, like the best picture nominees. And this was nominated for best picture at the last Oscars. And I watched it. But you were waiting for me before you watched it. And I forgot about that. [00:02:51] Speaker B: Well, I don't think I ever told you I was just waiting for you because I knew that you were a huge fan of Three Billboards. [00:02:59] Speaker A: I am a huge fan. [00:03:01] Speaker B: Yeah. And I'm not such a huge fan of Three Billboards or to be honest, this movie. So I figured, obviously I needed to watch it with you. That would be the good way to do it. But I just didn't tell you that. [00:03:22] Speaker A: But yeah, that is a lot of why I was interested in this movie. It's directed by Martin McDonough and written by him as well. And he did Three Billboards Outside Ebbing, Missouri, which we also saw in theaters in 2018, which both movies are like dark comedies. Wikipedia calls this a tragic comedy. And I was like, that's pretty fair. That's a good description of it. So the plot and I am going to say their names once and then probably try to go with just the actor's names because they're Irish names and they're hard to pronounce. And I don't want to disgrace my Irish ancestors. So Column, who is played by Brennan Gleason, decides that he doesn't want to be friends with Patrick anymore and that's Colin Farrell. Just out of the blue, he doesn't think Colin Farrell is smart or stimulating enough for him to spend his time with. So basically the movie is just Colin Farrell trying to reconcile with Brendan Gleason. Who doesn't want to reconcile? I mean, that's the basic gist of the movie. That doesn't sound like a very interesting movie. But I don't know, just the acting, the script, the delivery of the script. It is funny. So as the movie goes, like, at first he doesn't want to be friends with Colin Farrell because he's boring. And he thinks know, he can't waste the rest of his life. He wants to contribute something to humanity. And know in order to do that, he can't waste his time with Colin Farrell anymore. And he goes to very extreme lengths to make sure Colin Farrell stays away from him. And it doesn't he he cuts his own fingers off. He cuts the fingers of his fiddle playing hand off. First he does one and then he does the rest as Colin Farrell on multiple occasions tries to interact with him. And. [00:05:35] Speaker B: It'S weird. [00:05:37] Speaker A: It's a weird movie. What do you think? [00:05:40] Speaker B: Yes, I do think it's a weird movie. What other thoughts are you wanting on that front? [00:05:48] Speaker A: Oh, just know. Then it gets to Colin Farrell decides to burn Brennan Gleason's house down because one of his fingers accidentally choked. I mean, basically the plot is guy doesn't want to be friends with other guy. Other guy tries to reconcile. It just gets really absurd. And at the end, they kind of reconcile through their hatred. Which I remember the first time I watched it, I thought it was fascinating because it just kind of like hit me. I was like, oh my gosh, that's what's happening. Because at the end of the know, Brendan Gleason escaped his house. He's standing on the beach. Colin Farrell goes up to me. He's like, oh, no, this isn't over. Like, if you would have died, it would have been over. But it's still going there. He's now all in on the feud. Brennan Gleason thanks him for saving his dog from the fire. And Colin Farrell's like oh, yeah. Anytime. And it's like, oh my gosh, they're going to be friends kind of in this weird twisted way through hating each gonna that's how he's gonna stay in Brendan Gleason's life. [00:07:09] Speaker B: Yeah. So throughout the movie, Brendan Gleason is always saying whenever Colin Farrell gets drunk or gets angry or is aggressive in any way, brendan Gleason is suddenly like, oh, I'm interested in this person again. Maybe I do want to be friends again. So then at the end, when Colin Farrell goes ahead and burns down his house and tells him that he's just going to keep attacking him, it does seem like Brendan Gleason it's a weird movie. The motivations of the characters are often a little murky. I almost just choked on my own bile. They're a little murky. So, like, Brendan Gleason, we see him start to turn when he accidentally kills Colin Farrell's donkey. So the donkey chokes on one of his cutoff fingers, on one of Brendan Gleason's cut off fingers. And then Brendan Gleason's like, oh, I feel bad about this. I feel bad I killed your donkey. So it's unclear if Brendan, in that last scene, if Brendan Gleason is feeling more amenable towards Colin Farrell because he killed the donkey or because Colin Farrell is being aggressive. And then on Colin Farrell's side, it's unclear if he is pleased about the ability to be in a relationship with Brendan Gleason through hatred or if, like you said, that they get reconciled through hatred. I think obviously, on Brendan Gleason's side, through one means or like, he has softened a bit towards Colin Farrell. I'm not sure if Colin Farrell has softened towards Brandon Gleason. It could be that he actually just playing hates. That's actually. [00:09:17] Speaker A: That's a good point. He finally got what he you know, Brendan Gleason is being civil to him, but he doesn't want it anymore. Yeah, that's a good point. I didn't think about that. But no, the script and the just it's so like, I went back into the movie today just to make sure I was pronouncing innisher and right. And it was the scene where they're talking about Brennan Gleason's song in his house. When Colin Farrell comes in, he tries to be all aggressive and insulting to him because that's apparently how Brennan Gleason finds him interesting. And I don't know if it's just the stereotypical Irish talking or like the it's just I don't know. It's so good. Another part. At one point, Colin Farrell picks up a music student of Brennan Gleason's and lies to him that he has to go back home because his father was hit by a like, it's so random and so funny because he's like, that's how my mom like, it actually happened to him. I don't know. I thought it was just I actually ended up buying the screenplay because oh. [00:10:38] Speaker B: You can buy the screenplay. [00:10:39] Speaker A: You can. It's on Amazon. Interesting. Yeah, I just thought it was really good, like the beginning when they're like, are you having a row? I don't think we're having a row. Well, it looks like it just goes on and on. But yeah, I thought it was just really well written and well delivered. Another thing I loved is just I love how the movie just starts immediately. There's some shots of the island, but then it's just Colin Farrell walking to Brendan Gleason's house and him not responding when he's trying to get him to go to the pub. And you're like, oh, okay, so we're just starting. I like, just it starts Colin Farrell. I'm now deeply in my Pros list. [00:11:31] Speaker B: Hold on, go back to what you just said about the script. I did do a little digging about this movie after we watched it and so how do you say his name? McDonald? [00:11:43] Speaker A: I think it's Martin McDonough. [00:11:45] Speaker B: Martin McDonough. Okay. So he was a playwright before he was a filmmaker. So that's where a lot of this sort of very tight, very dialogue based sort of stuff comes from. But furthermore, he had a play that was called The Banshees of Some Other Irish Island that was never produced. And Wikipedia said, the connection to the Banshees of innisherin is unclear, but it's possible that this movie is a revision of that play. And that sort of thing where you just start that is very playlike because you're obviously not going to have a huge preamble when it's a stage. Right. That just wouldn't I mean, that does. [00:12:40] Speaker A: Make sense with why the dialogue is so good. That's what he's good at. Colin Farrell does a great job in this movie. He was nominated for best actor. He did not win. He lost to Brendan Frazier in The Whale, which I'm glad Brendan Frazier won, but can we stop it with the person puts on Prosthetics and wins an Oscar? It's annoying. If that's allowed to happen, why can't Andy Serkis win an Oscar for all his motion capture? We've had that discussion before, but no, I don't know. [00:13:19] Speaker B: Mean, I haven't seen The Whale, but I don't know that they would have awarded him an Oscar just because he put on Prosthetics. Maybe because he's on a comeback from being sexually abused. That's why they might give him an Oscar. [00:13:31] Speaker A: Yeah, no, I said I am happy for him and I don't think anyone is unhappy for him. I hate that trope. And yeah, I don't know, but that's neither here nor there. That's for if we ever do The Whale. But Colin Farrell, he reminds me of a mixture of Jim Carrey, Joaquin Phoenix and Ty Burrell, both in looks and kind of in the way he acts. This movie does a good job at depicting like, there's times where it's just Colin Farrell, like he's eating dinner with his sister Siobhan, and he's kind of know, not paying attention to anything, or like he'll just be sitting on the floor as the donkey. He's petting the donkey. And then just like, there's a moment where he realizes that the first day that Brennan Gleason started this fight or didn't want to be around him was April Fool's Day. So it's this happy, sad moment where he thinks he's like, oh, yeah, it was April Fool's Day. Good joke. And it's like, yeah, no, he wasn't joking. So it does do a good job of, I think, of showing depression for both of them because Brennan Gleason is also they talk about the despair whenever he's in confession, like, how's the despair? And I think that's kind of like the idea that he wants to leave something to the world. He feels like he has to do something to make it worth it. And he thinks Colin Farrell is holding him back. But it's kind of like this delusion of grandeur where he thinks that he's on the same level as I think he says Mozart and he says, like, the 17th century. And Siobhan actually correct him. It's like it was the 18th century. So he thinks he knows more than he actually does, but that's his attempt, I think, to deal with being depressed. I think they did a really good job with that, especially Colin Farrell, because he's just a normal dude and he thought that everyone thinks he's a nice guy, but then he realizes that everyone thinks he's kind of simple and that kind of just makes it worse for him. What do you think? [00:15:50] Speaker B: Yeah, so I saw one reviewer mention that they sort of implied that they thought that the arc of the movie was Colin Farrell eventually coming to realize that goodness has being a nice guy doesn't have any reward. Or being what was the term they used? I think they just said being nice doesn't have any reward. And I think that's interesting. That gets into a lot of different questions about sort of what the movie is doing and what it's trying to communicate to the audience. And honestly, one of my complaints I see down on your cons list you have written it's hard to come up with cons to this movie. I don't agree. [00:16:45] Speaker A: All right, let me hear them. [00:16:47] Speaker B: Let's get them. One of them is, I feel like in a lot of different ways, that sort of murkiness about the character's motivations and even just sort of what's going through their head, what we're supposed to be thinking about, the ideas that they represent. It really prevents you from understanding what the movie is trying to say. So in the case of Colin Farrell, so everybody knows there's a difference between being nice and truly being right. [00:17:29] Speaker A: Yeah. [00:17:30] Speaker B: So, okay, so taking that for a given. And let's accept that the arc of the movie is meant to be showing how Colin Farrell learns that whichever he is, it doesn't have any reward. The problem is we don't know which one he is. We don't know is Colin Farrell just being nice, but underneath he's actually a rotten person or is he truly virtuous and the movie is trying to communicate some sort of nihilistic existentialist thing about how virtue is devoid of meaning or something like that. [00:18:07] Speaker A: As he goes throughout the movie, does he go from being a nice guy to just deciding to not be nice? Because they talk about the kid with the bread van. He lies to this kid to get him away from Brennan Gleason. He's jealous. And then he tells Dominic, who we'll get into him later, but Dominic's this younger guy and he's like, oh, that's a really mean thing to do. I thought you were a good guy. [00:18:43] Speaker B: That's the specific scene that I think gives us any sort of clue about that at all. And all it does is just sort of subtly hint that maybe what's going on here is the veneer of niceness is being removed from Pedrich. And we're seeing that underneath, he's not a good guy, he's not a nice he's just like the rest of us. Sometimes we're nice, but a lot of times we're just kind of crummy. But but yeah, that would be one of my pushbacks to the movie, is that I feel when you really start to dig beneath the surface, there's a lot of murkiness and unclarity about what's going on here. [00:19:30] Speaker A: And I think that might be intentional on the director's part because Three Billboards was also kind of like that. And I know you didn't like it as much as I did, where yeah, like the characters are not really good. You know, the main Francis McDormand in that and Sam Rockwell and at the end, it's like the main question she's trying to solve was not resolved. So there does seem to be a bit of a nihilistic. [00:20:01] Speaker B: Just like yeah, I mean, the Martin what's his name? McDonough. [00:20:09] Speaker A: McDonough. [00:20:10] Speaker B: McDonough, whatever. I'm just going to call him Martin. Martin's movies. [00:20:14] Speaker A: Sorry, irish people. I'm sorry. [00:20:18] Speaker B: Martin'S movies. I mean, they're all very nihilistic and existentialist because just the quandary that Coleman and Pedrich are faced with is like they have this feeling like life is purposeless, there's no meaning. They're trying to find something that's going to fulfill their need for community and love and meaning and purpose, and it doesn't exist, it's not there. And that's like literally the definition of existentialism and the fact that Pedrich sort of goes on a rampage and decides, well, okay, I'm going to break the law and just sort of do this aggressive thing where I'm making my will known. That's very Nietzsche of, yeah, it's definitely like that, but that's not exactly what my pushback is. To be clear, I'm not saying that Pedrich should be like a paragon of virtue or something, and otherwise nobody knows what's going on. My complaint is that it's not clear what's going on. We don't know quite what to think because I feel like Martin has not fully developed the ideas in the movie enough to clarify, is he talking about this or this slightly similar thing which goes in a different direction. We just sort of get gestures to these ideas, but they're very vague gestures. [00:21:56] Speaker A: And then there's also other things to get into. Like, the movie is a metaphor for the Irish Civil War. [00:22:03] Speaker B: Yeah, that doesn't work. Yeah, I saw another reviewer refer to that as, quote, unquote, flat footed. And I kind of really agree with that because I feel like the purpose of that metaphor is just to make the metaphor. It's like, hey, look, the conflict between these characters is like the Irish Civil War. And maybe there's some context to the Irish Civil War that I don't know that would help me see more meaning to that connection. But as it is, it just feels like a connection for the sake of a connection. [00:22:41] Speaker A: It's one of those things where at the end you're like, they're talking about, oh, I think the war is going to be ending soon. And it's like, now it'll probably get back up and you're like, oh, this is a metaphor for the war. And then you're like, oh, it's not great. [00:22:55] Speaker B: Yeah. Is it though? Or is he trying to use the war as another point of data to clarify whatever's going on between the know? [00:23:05] Speaker A: Yeah, I don't know. I honestly don't know other things. So we talked a little about Dominic. So Dominic I'm going to butcher his real name. It's like Barry Cohen. I don't know. I would just call him Barry. We're just insulting all of Ireland today, don't worry. But I don't like his character. He plays Dominic, who's like, I think he's supposed to be maybe like 20. I don't know what the drinking age was. Maybe he's still a teenager. I don't know. [00:23:38] Speaker B: I think he's supposed to be a kid. [00:23:40] Speaker A: Yeah. He acts very young and stupid, but he really likes Colin Farrell and he hangs around with him. And Colin Farrell hangs out with him because he's kind of the only person he can hang out. [00:23:53] Speaker B: He has a crush on Colin Farrell'sister. [00:23:57] Speaker A: Yeah. I don't like him. [00:24:02] Speaker B: Personally or aesthetically. [00:24:06] Speaker A: I don't like his character, but that's personally or aesthetically. Hold on. That's almost a compliment, though. Like, he's uh huh. He's just the whiny, annoying young guy. But that's almost a compliment to the actor because he does a really good job of playing that character. [00:24:27] Speaker B: He does a fantastic he does. [00:24:29] Speaker A: He was nominated for Best supporting actor, as was Brennan Gleason. I didn't mention that. Yeah. Like no, he does a great job of it. And I think that's probably why it's kind of a compliment because it's like, I am annoyed by your character, which is what I'm supposed to be. So his father in the movie is like the local cop. Another con. I just am going to say I didn't need to see the cop's penis. [00:25:00] Speaker B: Well, you did. What are you going to do with that? [00:25:03] Speaker A: He's just sitting in a chair sleeping and I'm like, okay, cool. Other things the eerie vibe can be off putting, but it's also kind of like the intentional vibe of the movie. It is eerie and ominous. Like, there's the old lady, Mrs. McCormick, who is super creepy. But I was reading on TV, Tropes, and they're that is she actually a banshee? Because they talk about Brendan Gleason talks about Banshees pretending death. And she just sort of sit by. [00:25:40] Speaker B: And smirk at us as we suffer. [00:25:42] Speaker A: Yeah. And that's basically what she does. She even says that someone's going to die on the island. And spoiler alert, Dominic ends up dying. Which they're never really clear if he fell in the lake or if he killed himself. [00:25:54] Speaker B: I don't know. [00:25:56] Speaker A: So, yeah, there's some deeper things I think going on. But you're right, they're never fully explored, which is kind of cool, but kind of annoying. So yeah, that's my cons. Yeah. I have a big question. [00:26:16] Speaker B: Okay. [00:26:17] Speaker A: At the part where they talk about the song in Brennan Gleason's house, and he's like, okay, yeah, I'm going to go down to the pub. You want me to? And Brennan Gleason's like, yeah. Were they actually going to become friends? [00:26:30] Speaker B: No, no. I think it's pretty clear that shortly before that, I forget what Pedrich does. But it really clearly shows to Brendan Gleason that he's not actually genuinely being aggressive towards him. He's just putting on a show to try know, get him to be his friend again. [00:26:52] Speaker A: Because to me, I was like, well, did he agree to it? And then Colin Farrell let slip that he drove away the music student. And I was like, is that where he's like, oh, no, this is not happening. Or yeah, like you said. Was it already did he already have that figured out? [00:27:11] Speaker B: I think he did, yeah. There's a specific shot where I think it's a sudden wide shot. It might not be sudden, but there is a wide shot where he and a wide shot always implies some sort of alienation or like a shift in perspective, especially when you're in the midst of a dialogue scene and you've slowly crept up to the extreme close. Um, so it's a wide shot where Pedrich says something and then Brendan Gleason just sort of like looks down at his hands in sort of an embarrassment. And it's like, oh, okay. He's got it. [00:27:49] Speaker A: Okay. That was a question I had because I was like it's not stated, but I wondered. So, like, one of my favorite podcasts, the Rewatchables I want to start doing awards. [00:28:04] Speaker B: Hold on. What are you trying to wrap up this episode? [00:28:10] Speaker A: Well, no, we can continue the discussion in the awards part. [00:28:15] Speaker B: Okay, well, fine. [00:28:20] Speaker A: Continue. So we have the Ike Clanton Award for worst character that being named after Ike Clanton from Tombstone, played by Stephen Lang, aka he's one of the most despicable characters in movie history. But this can be however you want to define worst. Is it worst because they're not developed, acted or written well or worst because they're so hateable. So for me, it's the cop, Dominic's father, whose name is Peter, he beats his son. I think he molests his son. Also, he punches Padreg. He's just an all around terrible person. Like, he's talking to Brennan Gleason. He's going over to Ireland, like the main island to help with some, like, I don't know, just to be there for the crowd. He doesn't know or care who's getting executed because he's getting paid and a free lunch. So I think he's pretty much the worst character in the movie. [00:29:18] Speaker B: Yeah, I think that's a fair nomination since you took that one. I'm actually going to nominate column Brennan Gleason. Okay. Because I so the so another pushback I would give to the script is that his sudden decision to start chopping off his fingers is completely unjustified. [00:29:47] Speaker A: It really is. [00:29:48] Speaker B: It does not make any psychological sense whatsoever. And they even call that out a couple of times. Some characters are like, it doesn't make any sense. Why are you doing this? And they just sort of make a joke out of it and don't actually try to ground it in real psychology or anything. But okay, let's just take that. [00:30:10] Speaker A: Can I jump in real quick? [00:30:11] Speaker B: Sure. [00:30:12] Speaker A: And I think my thought on that, and I'm not a psychologist, that's my brother would be that subconsciously he's sabotaging himself, like, oh, look what you're making me do. I want to make all this music, but because of you, I have to cut my fingers off. So he's like sabotaging himself because that way he can't do what he wants to do. I don't know. Like I said, I'm not a psychologist. [00:30:43] Speaker B: Could be, I guess. I didn't see anything in the movie that would suggest that. [00:30:49] Speaker A: Yeah, I'm thinking because you're right. That's your first option. [00:30:54] Speaker B: Yeah. So it doesn't make sense. But frankly, between that and his sudden rejection of Colin Farrell, he is like, literally emotionally abusing Colin flair Farrell. I can't think of any clearer example of emotional abuse. Right. Like, you suddenly cut off all communication with your best friend, and then every time he tries to talk to you, you literally chop off a piece of your body and throw it at his house. This is not an empathizable course of action. [00:31:38] Speaker A: And I think that's if you don't want to be friends with him for whatever reason, okay, you can let him down and just be nice about it. He gives him like one shot where he explains that he doesn't want to be friends with him anymore and then he just starts cutting fingers off. And again, maybe that's he is just trying to hurt himself. I don't know. But. [00:32:11] Speaker B: Yeah. And so at the end, when Colin Farrell basically snaps and starts burning down his house and stuff, you kind of like, obviously Colin Farrell, his character is responsible for his own actions, morally responsible for his own actions. But at the same time as the viewer, you kind of can't blame him because Brendan Gleason has been literally torturing. Yeah. [00:32:39] Speaker A: So you're well, like yeah, that would make someone snap. Yeah. Second award, the Samwise gamge Award for the true hero of the movie. I think it has to be Siobhan. [00:32:50] Speaker B: Oh, yeah. [00:32:52] Speaker A: As noted on TV, Tropes and she's played by Carrie Condon, who was also nominated for an Oscar. Like, all four of the main actors in this movie were nominated, which is awesome. She's like the only normal person in the mean a little too much. She tries to kind of shelter Colin Farrell from this idea that he's simple and boring. But she also goes to talk to Brennan Gleason and she's like, what are you? He's like she's like, everyone on this island is know you're not special. So she's really the only normal person in the movie. [00:33:35] Speaker B: Yeah, I would say also, I mean, I know you find him annoying, but I'd say Dominic is another nominee for Samwise gamge because he sort of acts like the foil for Colin Farrell. Okay. And yeah, in a lot of ways he's sort of like the only emotional anchor that Siobhan is also awesome. [00:34:05] Speaker A: Yeah. The Millicent bystander award for most randomly funny moment. I didn't give the name or the reasoning for the Samwise Gamgee Award, but if you've seen Lord of the Rings, you know that Samwise Gamgee is the true hero of the story. Anyway, the Millicent Bystander Award is named for the movie Flushed Away. There is a line, and I don't know if you've seen it. It's a Hugh Jackman as an animated rat. And one of the villain rats is like I believe he said his name was Millicent Bystander because he said he was an innocent bystander. And my sister just thought that was the funniest thing ever. So we call these Millicent moments where it's something that's randomly funny. Like it's not that funny, but it just hits you as the funniest thing in the world at that moment. So my nominee is the whole I actually changed this from what I wrote down. But is the bread van conversation okay? Where Colin Farrell is talking to the music student? And he's like, oh, yeah, I know you have to get back to the land because your mom is dead. And he's like, well, my mom's already dead. He's like, oh no, it's your dad. He got hit by a bread van and he's dying. And out of nowhere the guy's like, that's how my mom died. And you're like, what? It's so random. It's like a joke that doesn't really fit in the movie. Yeah, but it's so funny because what are the chances? So that's mine. [00:35:45] Speaker B: I don't think I have one. I don't remember any moment that was like randomly funny. [00:35:53] Speaker A: Okay. Yeah. All these awards aren't necessarily going to apply to everything. So the next one is the TDog award. For wait, that's insert actor. This is Named for the Walking dead. There was a character named T Dog who when I found out that he played like a gang member in the blindside, it blew my mind. So my family now that we call that a tea dog. Like when you find out that someone plays another person, like when I found out that the mom from The Santa Claus is the wife in Air Force One, it blew my mind. So stuff like that and I don't know that there's anyone in this. These are all people that I kind of already knew. I guess for those a lot of people don't necessarily know who Brennan Gleason is by name. So if they find out that he is Hamish, the best friend from Braveheart or Mad Eye Moody from Harry Potter, that might blow their mind. Or Carrie condon as Siobhan. She was on an episode of The Walking Dead and she was also the voice of Iron Man's, like the AI in his suit after Jarvis. [00:37:07] Speaker B: Oh, really? Okay. [00:37:09] Speaker A: Yeah. [00:37:10] Speaker B: Well that just blew my mind. [00:37:12] Speaker A: That's who wins. [00:37:13] Speaker B: Yeah. [00:37:14] Speaker A: Carrie Conan is the winner. Everyone liked that award. This was suggested by Slippy just for the part that everyone liked. I would say it's probably when Padre saves column's dog from the fire. There's not a lot to really like in this movie, but of know people like when you save the animals, he's like, I'm not going to let the dog die. He's like, my problem is not with a dog. And then I didn't need that award for the part that everyone hated the aforementioned cop penis. No one needed that. [00:37:51] Speaker B: Yeah, that's fair. [00:37:53] Speaker A: So yeah, overall, let's summarize. So I don't think you're going to give this the score. I did. I'm giving it five out of five. Narwhals, I just think it's so good. It's funny, it's dark, it's really good. [00:38:08] Speaker B: Yeah, I'm going to give it 3.5 out of five. [00:38:12] Speaker A: Okay, that's fair though. That's respectable. [00:38:15] Speaker B: Yeah. Reasons for that is aforementioned. I feel like some of the thoughts are not fully developed. I don't think that the metaphor with the Irish Civil War is successful. And pursuant to our earlier conversation about being a playwright, I do feel in some ways that this movie is not this is going to sound stupid, but let me explain it. It's not very cinematic. And what I mean by that is I don't feel that it really takes a full or unique advantage of the movie medium as opposed to being a stage play. The meat of where everything is at is very much just in the characters in the dialogue. And that's fine. That is great. But movies are more than just a stage play, right? Yeah. This is why movies are more than just a stage play. [00:39:26] Speaker A: Well. [00:39:29] Speaker B: There are more artistic avenues that you have. So you can do things with the cinematography, you can do things with music. You can do things with all these sorts of things with editing. Goodness sakes. Editing. I don't feel that Martin really exploited any of I know. [00:39:51] Speaker A: I think the movie Fences with Denzel Washington kind of got knocked for that, too. I mean, it was a play, but literally just a play. [00:40:01] Speaker B: That's literally what I was going to mention. And then I decided not to because I actually haven't seen Fences. [00:40:07] Speaker A: I haven't either, but that's what I've heard about. And then maybe one that does a better job is A Few Good Men because that was also a play where they at least I think most of the play takes place in just rooms or, like, in the courthouse. And the movie at least tries to go out to different places. [00:40:28] Speaker B: Hey, you know what's a really interesting example of this is the Steve Jobs movie. [00:40:35] Speaker A: For those who don't know, we talked about this, like, two years ago and we never actually published that episode. [00:40:40] Speaker B: Oh, did we never? [00:40:42] Speaker A: We never did. I, anyway, got around to it. [00:40:44] Speaker B: Well, one of the things that we talked about was it is a movie that is so obviously wanting to be a play because it's all about the characters. It has three acts, and every act is one big, long, continuous scene. [00:40:59] Speaker A: And sorkin is a playwright. [00:41:01] Speaker B: Sorkin is a playwright. It takes place in a contained environment which mimics a real theater. So everything about it wants to be a play. But I feel like that movie actually did a really good job of exploiting the cinematic possibilities of a script, which is very playlike, because I can think of many instances in that movie where the way that they've edited things, the specific shot they've chosen for a specific moment, really sort of add more to the meaning that's being communicated. And then, obviously, they do the little interstitial things that have, like, motion graphics and stuff. And that doesn't happen in at least traditional theater. So, yeah, I feel like that's an example of how you could do things cinematically. Whereas fancies of Inisheron and possibly Fences, I feel like, don't really take full enough advantage of that to warrant being. [00:42:08] Speaker A: Movies where I will disagree with you is like, the scenery is beautiful. [00:42:13] Speaker B: The scenery is beautiful, but it's just there. [00:42:23] Speaker A: You're right. It's mostly the dialogue and the characters. But I did want to throw that in there. So, yeah, that is the banshees of Sharon. Thank you to Evan for joining me on this second episode of Snorkeling in Popcorn. [00:42:38] Speaker B: Yeah, you're welcome. [00:42:40] Speaker A: I have not decided what the next movie is going to be, so I am not going to tease anything. [00:42:47] Speaker B: That's why I was distracted, Brian. I was looking at where you have I don't want to give false info written on your outline. And I was like, that ship has sailed. What is the point? [00:43:02] Speaker A: Well, yeah, because at the end of the first episode, it's like, yeah, we're doing 65 next, and that clearly didn't happen yet. So I'm not even going to try to guess what the next movie is going to be. I have some ideas, but I don't want to commit to anything yet. But yeah, I am Brian. He's Evan, and that was Snorkeling in popcorn. [00:43:40] Speaker B: All right, this or that. [00:43:44] Speaker A: Well, I like the one more time. Anyway, I'm Brian. He's Evan, and this was Snorkeling and popcorn. I don't know what grammar I prefer in any of these. So a couple things. So I looked up the pronunciation just because I forgot. [00:44:07] Speaker B: Right. [00:44:09] Speaker A: It's in a sharon. [00:44:11] Speaker B: I believe in a Sharon. Okay. I believe and the characters are colm. [00:44:16] Speaker A: And oh, my Padrick. And they say it like column colm. [00:44:25] Speaker B: Column column. [00:44:27] Speaker A: Almost like column instead of a row, but a column column. [00:44:33] Speaker B: I'm probably what's the sister's name? [00:44:36] Speaker A: Siobhan. [00:44:36] Speaker B: That one I can yeah, the Martin what's his name? McDonough. [00:44:44] Speaker A: McDonough. [00:44:45] Speaker B: McDonough. Whatever. I'm just going to call him Martin. Martin movie. [00:44:49] Speaker A: Sorry. Irish people. I'm sorry. So we talked a little about Dominic. So Dominic. I'm going to butcher his real name. It's like Barry Cohen know? I don't know. I would just call him Barry. We're just insulting all of Ireland today. I don't like his character, but personally or aesthetically? Hold on. [00:45:16] Speaker B: I almost just choked on my own bile.