Freaky Tales

Freaky Tales

Cris: You press that. Oh, you do? Alright. Yeah. Well done.

Dan: We are recording.

Cris: We're recording. Yeah.

Dan: Okay. Sorry.

Cris: Sorry. I doubted you there

Dan: Well, I'm gonna say there were too many words on the chat.

Reegs: Yeah.

Dan: too many

Reegs: were seem to be unable to read the chat and decode what the movie was.

Dan: Yeah. It

Reegs: unlike

myself and Chris.

Dan: Yeah. Well you're, you are more used to, you are more used to such technologies like mobile phones.

Reegs: All new to you. Is

Dan: but this this was a film then I didn't watch.

Reegs: Yes, this was a 2025 anthology called Freaky Tales.

Cris: mean? Sorry, can you, can you help

Reegs: like, short stories.

Okay.

Cris: So it's like,

Reegs: yeah. And this one is kind of four interconnected stories that kind of all coalesce around the final story which is about a botched robbery of the real life Golden State Warriors basketball player, sleepy Floyd. This event didn't actually happen, but

Cris: not

Reegs: Sleepy Floyd is a real

Cris: Yeah. His sleepy Floyd is a real guy, but not the

Reegs: not the botched [00:01:00] robbery. So yeah, it's, it's a, it's, kind of

also a love letter, I guess, to Oakland, California and to, is it,

Cris: is it, is it based in the eighties?

Reegs: 87. 1987. 87, yeah.

A love letter to that specific time and place at the Grand Lake Theater.

The rapper too short whose song. Freaky Tales gives the movie its title and is played by an Oakland rapper called Simba. So a bit meta there and it's written and directed by husband and wife team Anna Boden and Ryan Fleck, who did a bunch of indie films that you've probably never seen. I haven't half Nelson Sugar.

It's kind of a funny story. And then somehow they ended up doing a captain, the Captain Marvel movie, which made $1.3 billion, I think. So, they ended up doing this, I guess after a five year break. And it's clearly a labor of love. And I was surprised to find out that many of the stories in this anthology were based on real stories, things that happened in

Cris: I know it's mental

Reegs: in [00:02:00] 1987.

And there are some kind of outlandish sci-fi elements around this periphery of this, but some of the main stories are all true, which is quite cool.

And yeah, it has this vague sci-fi like element to it in the background with this like green light that sometimes comes into the stories. And it's also got a really cool kind of comic book s

Cris: pro. What, what

Reegs: pro cyto psychotropics.

Yeah. Okay. And it's got a kind of look reminiscent sometimes of something like 300 or Sin City or even something like Scott Pilgrim

Dan: or Okay. Something like that. Right? Yeah.

Reegs: With sort of animation and flashy editing and all sorts of cool stuff. It starts with an intro from too Short the Rapper and he's talking about the time and place, a special time and place.

There was something in the air, maybe it was the bright green glow and we'd get some animation and stuff. And it was one of the things that made the bay so damn great. He says, and then we get the first story. It's called Strength in Numbers. The Gilman strikes back and it's the first, the two sections.

The first two sections start in the same way with [00:03:00] people leaving the ci the cinema, after having seen The Lost Boys debating the ending and whether the they would've told, the old man should have told the. That he knew about them being vampires. And these guys come out, Tina and Lucid and they hear these like Nazi skinheads come by in a pickup truck, shouting abuse at this black couple.

Cris: the girl. Yeah. The the black girl. Yeah.

Reegs: And they'll end up being the protagonist of the second story. They just hurl a load of abuse at them. And Lucid and Tina there kind of like. Punk guys.

Cris: yeah, she's Asian. He's just normal white guy.

Reegs: Yeah. But they've got the kind of punk look, the hair and the kind of t-shirts They tell him to fuck off and all this stuff. And then they go to this real life bar called the Gilman which was 9 2 4 Gilman Street, a real life bar that was all about like the straight edge punk lifestyle. So no violence, no drugs. But everything else is tolerated. Everything else is on the get.

You know, it's all about bringing people together and you, [00:04:00] it's a real diverse crowd. People with disabilities, there's a punk there on crutches and all that sort of

Cris: there's wheelchair, there's, it's all

Reegs: and everyone's having a great time. The Operation Ivy are playing and it's all. Great, lovely time.

And then the fucking Nazis turn up scumbag Nazis led by this behemoth guy.

Cris: Yeah. And they, they already know because the guy's, ah, not again. And he goes in outside to kind of try to reason with him.

Reegs: obviously happened before. And they come in and they're really abusive and they start a mosh pit, but it's just an excuse to have a fight.

And before long they're just punching people and beating the shit out of them and it's, they break, they smash up all the guitars and they just ruin a place, start pissing everywhere and it is just really awful. And they physically outmatch 'cause it's all white men, obviously. They physically outmatch the much more

Cris: Yeah. They punk lucid while he's just kind of sat there, just like looking at

Reegs: Yeah. And they'll hit women and call everyone fags and all sorts of stuff. So, the next day after this is they all go back home [00:05:00] triumphantly. And the punks decide not to take this lying down basically.

And so they have a vote, like they've got like a collective and they've, they have a vote on whether they should hire some off-duty cops to come and protect them. They decide not to do that. And then whether they should break their all their own no violence rule and go and seek retribution on them, which is what they vote to do in the end.

Yeah. So they. There's like a sort of montage scene of Yeah.

Dan: Yeah. Right.

Cris: They're gonna fight

Reegs: gonna tool up and you see some fucking, like, this is where this sort of, 'cause this was a real event. I was really surprised to find out this whole thing what happened. But it's been, it gets really mythologized here.

So the, the guy who was on crutches gets machete blades put into the end of his crutches and people have got bats with nails in them. It's

Cris: and lucid gives Tina a bracelet. Yeah. With massive spikes that cut

Reegs: Huge spikes hit

Cris: hit someone like that and, and that's the first time when we see Pedro Pascal.

Reegs: And we also see the, the bracelet pulses [00:06:00] with the green light.

so

Cris: and they're, they're in a, they're in, they're in a diner when he, because that's kind of important

Reegs: for another story

Cris: for another story at the end where they're in a diner where he gives, they, they kind of fall in love.

He gives her the bracelet and Pedro Pascal Walks was past them. And it's a diner that looks similar to the diner in Pulp Fiction.

Reegs: Yeah, it does. Like a

Cris: kind of, that kind of, well, American diner really. And he walks past. Does he ask them anything? Then

Reegs: I think there is a little

Cris: like hi or something. I dunno.

Reegs: I dunno.

Something. There's

some little, you certainly draw your attention to it, but mostly this is the story of whilst they're skilling themselves up and getting ready for this fight with these Nazis, also this little love story between Lucid and Tina, which is quite nice and it's, anyway, so then it comes to the night.

The, it's another night at down at the Gilman and the band are playing. Everyone's having fun, and then the fucking Nazis turn up again. But this time they give a signal and everybody comes out and there's way more of the, [00:07:00] sort of

Cris: The punks. Punks,

Dan: and they're all tooled up.

Cris: All of

Reegs: well tooled up and they a bit.

Hmm, I don't know. And then suddenly they just charge 'em like a scene outta 300. And then it's just vicious, like it's

Cris: blood everywhere it,

Reegs: in the face with a baseball bat and teeth flying out and all sorts of horrible shit. As these Nazis get beaten up, real wish fulfillment type stuff, and they end up getting chased back to their vans.

The vans getting beaten up and they drive off home, half of them dead or whatever, and

Cris: yeah. And I think it's the big guy. The big guy is called Travis.

Yeah. He gets sliced in the neck by Tina in her fancy bracelet.

Reegs: Yeah. And we'll see that later on. And then it sort of ends with them playing black flags rise above or whatever, and it's all really triumphant.

So

Dan: so that's one little vinegarette

Reegs: Exactly based on a true story, obviously, like

Cris: Yeah.

They've done it.

Reegs: but based on a story of punks who beat off Nazis at their club. The second one is called Don't Fight the Feeling, and again, starts at the cinema, like we said, and it's got two women this time, [00:08:00] Barbie and

Dan: how does it separate the, the story, the chapters. Oh, okay. It starts

Cris: black,

screen and then it just

Dan: and then it would say, don't fight the feeling or whatever it is.

Yeah,

Reegs: it on. And I think sometimes there's a little bit of narration from too short in between as well. So we see those two women come out of the cinema.

They're verbally abused by the same punks that we saw at the beginning, but this

Dan: Oh, so, so it kind of, right. Oh, it starts in the same night.

Same thing.

Cris: but it's

Reegs: but after that altercation, we see their story continues and they meet, this guy didn't get his name, but he looks fucking

Cris: Yeah. The guy with the glasses and the hat

and

Reegs: a clock and a shit around his neck.

And he's got this massive green thing

Cris: I can't remember his name actually.

Reegs: He's seen them play at a club. They're part of a rap band called Danger Zone, and he's seen them play at an open mic night and he wants them to come and rap on stage with too short in a rap battle. So he really liked them. It was only like 10 people at the club.

They can't believe it. And he's like, this guy [00:09:00] saw him, he's gonna

take it. So they've, he set this up brilliant. You're gonna do this gig and come and. Battle and it's your chance to make your name.

Cris: And the next scene is when they're at the ice cream

Reegs: ice cream shot. It's an amazing scene. Ben Mendelson, who's an actor I really like, is he plays a character called The Guy.

Cris: Yeah. He's, he's a cop.

Reegs: He's the most racist cop that

Cris: you And, and slimy as well. He, he

Reegs: sexy, like sexist and slimy and eyes. And he's like going, I like chocolate. Gimme the chocolate, gimme a taste of the chocolate. And all this like to the girls, like obviously, and then I only, it's like using ice cream to basically be really crude and racist.

It's a really horrible scene. And there's a guy in the background, a white guy with his son who does nothing to stick up for the poor

Cris: Yeah. He just sits there and then he's like, oh, excuse me, can I get served? And the both of the girls are like, fuck you

Reegs: Yeah. Where were you a minute ago? Basically. Yeah.

So yeah, we see what a piece of shit he is. And,

Cris: and then he goes to the car. And [00:10:00] he, his partner partner is black. Yeah. And he's like, did you get me the, I dunno, whatever he asked for the might shake or something. He's like, nah, they were out. Yeah. And did, could you

Reegs: he said, did you get me anything else?

Nah,

real. What an asshole. So anyway, danger zone, the band they end up going to the club to play at, at the same time or to rap battle with two short and, there's a bit of a kerfuffle as they go in. When they first meet him, they're sent off to the green room and they go in the wrong room, and he's eating Percy.

She's like, why are you going in? He's like, he's he's, he's doing something. We'll give him 10 minutes or whatever. Anyways, they end up going on stage, but one of them. Not Barbie, the other one entice has a massive crisis of confidence just before they go on stage. Yeah. Because two shorts record, his lyrics are really misogynistic.

Like it's all about bitches and how awful they are and how much better men are and all that. And they're like, oh fuck, we're being set up here. They've brought us on to make us look stupid. And then her mate Barbie is like,

Cris: like, [00:11:00] no, we're, yeah. Fuck this. We're good. We,

Reegs: And then the microphone gets a little green flash of lightning, doesn't it?

And they go into this absolutely sick eighties rap flow where they just take him down and they criticize him like his manhood

Cris: And the short, your short,

Reegs: your short, sure. It's not your height, it's your width. And just a lot of great, there's a lot. What did she say? Like, dis me, boil, hang your balls from a cliff.

And it, like, he just gets completely taken down.

Cris: But

he's, that's it. He's a good sport for it, right? It's obviously the way the film is.

Reegs: there was a real, so, so he did in the eighties, the real rapper, two short, whose song don't fight. The Feeling inspired, the, the bit, the name for this. Segment, right?

He do did this, basically this exact thing, but in the studio. So he was famous for doing misogynistic lyrics and then he bought in a team called Danger Zone. And on this song, don't fight the feeling, they ripped the shit out of him, which was, I guess, a pretty progressive thing to do in 1987. And give these girls a chance on uh uh, on a record.

So yeah, that's the end of it. It [00:12:00] ends with them like triumphantly going away on a bus that I think ends up flying off into the sky or something really

Cris: a, almost like a

Reegs: Yeah. The bus driver like laughs and then it just zooms off into the air or something. It's

Dan: all just kind urban legend myths that have just

Reegs: retold basically.

It's really clever. That's why I think you'd like it. The third one is the, I guess the most conventional crime thriller story part. This is the Pedro Pascal. It's called Born to Mac.

Cris: Oh, yes. Yeah.

Reegs: it starts with him. I think he's about to kill himself in,

Cris: is that not, is that not him in the misses in the car? That's, is that not how it starts?

Reegs: Well, there's a flashback, isn't there? I can't remember where the flashback happens. He, 'cause he's gonna kill himself and he's got the, he gets the mix

Cris: gonna try.

No, but I'm pretty sure he, it

Reegs: it starts with him in the

Cris: him and the Mrs being

Reegs: pregnant

at the video store.

Cris: It's something to do with before of 24 hours before. Yeah. And they show him with a miss. I can't remember what it was, the initial shot, but it wasn't the suicide, it was something else.

Reegs: because we it is this. Yeah. We'll get, so [00:13:00] basically he ends, he's at the video store with his wife and is like, well, fiance, she's pregnant, heavily pregnant.

It's a clearly kind of like one last job type vibe to this stuff going on. He's talking to her about renting videos, but it really, else is going on and he goes into the video store and there's been a running joke, which I didn't see paying off. About Tom Hanks and fucking Tom Hanks is the,

Cris: the video store guy.

Reegs: like a really nerdy like, almost like a Tarantino esque type type video store clerk who he does, he says he wants to put together the top five underdog Yeah.

Movies for them. He quotes Hoosier at them and all sorts. So you did like that bit and anyway.

Pedro Pascal eventually says the code words to get into the illegal private game of gambling that's going in the back behind the sort of

Cris: the xxx,

Reegs: XX Triple X

Cris: Yeah. The porn videos and the old wall pushes aside and

Reegs: And so he goes back there and it's clear he's a debt collector and he is [00:14:00] there to collect money from a guy who's literally just lost the hand as he's fucking walking in the room. He's like, oh, don't let me interrupt. And he's just lost all his money to the guy. And he is like, right, can you gimme that back?

And the guy's like, nah, fuck you.

Cris: No,

Pedro Pasal tells the guys like, don't

Reegs: don't give him the money. You'll

Cris: you'll never see him.

Reegs: Yeah. And then I'll have, you'll have to hire a guy like me to come and get it. So, yeah, he breaks the guy's fingers. He gives him two tickets to the Warriors.

Cris: Floor court. Floors. The court

Reegs: courtside courtside seats.

Cris: the basket.

Reegs: Under the basket. That's right. Jack Nicholson would pay a fortune for him. Do you know Jack Nicholson? Call him. Yeah. Anyway so, that he gives him the tickets as down payment, basically so off goes

he

goes off.

Cris: out to to, to his misses.

He goes out to his misses and the guy runs the other way with the, with the fingers facing the wrong way as well.

Reegs: Yeah. And then he gets in the car and there's been a, he's seen this guy in the video store [00:15:00] earlier and he's, he didn't know who he was, but the camera's really clocked on him.

And then the guy turns up at the door and you get this like, flashback, don't you, to

Cris: he was younger.

Yeah.

Reegs: and he recognizes the kid from when he was a child. He'd beaten his dad to death.

Cris: Yeah. to to collect,

to collect

Reegs: To collect, money. And this kid had seen that happen. And so he is back as an adult for revenge. And there's like a confusing moment here where there's, you don't realize at first how many shots you've heard.

There is in fact two shots. She, the wi the wife of Pedro Pascal shoots the guy and you think, oh, brilliant. Thank God he's gone. But then she's been shot through the. Stomach basically. She's obviously heavily

Cris: massive, massive bump. And you can see the womb wound just here in the, in the belly.

Reegs: So

suddenly he's just lost his wife and,

Cris: the child.

I think it's a daughter. Yeah. We get told Yeah.

Oh no, he was on the phone. I think the initial thing in the, in, in this whole chapter, I think he's on the phone to someone.[00:16:00]

And then we get to 24 hours

Reegs: Yeah.

Cris: Or eight to 18 hours

Reegs: where he's about, where he is gonna kill himself or whatever. Yeah. Yeah. So anyway, he, basically like he's got nothing left to lose now at

Cris: yeah. Rushes her to the hospital and then he's, that's it. He's like, I've got

Reegs: and it's kind, this is where it's revealed just how high up it all goes. 'cause the guy that we saw Ben Mendelson from the second scene, that really horrible guy is handling the case at the other end and is also clearly the guy in charge of all of the bigger, wider operation of whatever criminality is going on that he's part of.

And they put the, this was a bit of a bizarre ending really to this one. They put the guy in a police lineup, don't they? And they want him to pick him out.

Cris: At the same time, why does he meet the guy the other, not the guy, the guy, but the, the person in the diner.

He's

like, one last job. He's like, no, I've done already the last one, last job. He's like, well, we've got another job for you. You know, one of those things that is, [00:17:00] is like.

Dan: always one more job

Cris: and yeah, it's always one, one more job. But it's also, that's again,

Reegs: well he says about the job is a robbery, but they can't talk about it too

Cris: Yeah. But

Reegs: what they

Cris: but it's, again, it's, it's a full circle to the diner with the

Reegs: Yeah. Well they overhear him saying it's a robbery of sleepy

Cris: Yeah. At all the NBA players. And is it in this one or the next chapter when we got all the list with all the players from that guy?

Reegs: This on the next chapter? Yeah. So it kind of ends with Clint having a sort of his a slightly more renewed sense of purpose that he says no to.

He says, you've got the wrong guy. And he's gonna do this one last job. And then it cuts to the last story now, and they've been in the background has been this basketball game was a real basketball game. Game four. It was of the 1987 NBA playoffs. The Oakland Warriors golden State Warriors were down three mil against the Lakers and trailed a hundred two eighty eight going into the fourth quarter.

Eric, sleepy Floyd raw interaction. He scored 29 points in [00:18:00] the final quarter which is still the most points play scored by a player in a single quarter in the NBA history. So he, he, he won that. And this was a real game and it's, it feeds in the background and the story moves on that at that game.

So the story diverges from real life for 'cause. Yeah. At that game in the film were his mother and a load of other people. So we've heard about the guy setting up a load of,

Cris: robberies at different

Reegs: players. It's a bit like when like fucking Liverpool play away from home and all their players get fucking robbed.

So the same thing. All these players can be playing away from home, so you're gonna go and rob them. Unfortunately, his mum feels unwell and goes back home and is slaughtered by the robbery going wrong. And then it basically reveals that sleep. Eric's sleepy. Floyd is a kind of blade, like

Cris: he's almost like the Za in that fist

Reegs: with the iron fist fist. But he's like blade

Cris: or like, yeah.

Reegs: yeah. He's [00:19:00] got like Samurai swords in his basement and he tools himself up and just basically goes on like an absolutely epic 15 minute like rampage

Cris: It turns into Kill Bill. It

Reegs: into kill bill, basically. And he goes back to seek revenge on, and it turns out the Nazis, the leader of the Nazis was actually Ben Mendelssohn's son.

Dan: From the first.

Reegs: the first. From the first one. Yeah. So it all, and they tip off.

the

people from the first one tip off. Eric, sleepy Floyd about this is gonna happen or who they are because they overheard them in the

Cris: the diner.

Reegs: diner. And he's so basically, yeah, he just kills all the fucking Nazis.

And then

Cris: he just, honestly, he slaughters everyone in the house from top to bottom.

Reegs: It for, yeah, loads of people, really violent. And then you find out he's actually done like the last Jedi, that he's actually like meditating at home and sent like a projection of himself and he fucking just explodes. Ben Mendelson, like scanners or something like that.

Cris: Yeah. [00:20:00] Just by looking at him because he's got a gun.

Reegs: He's got a gun. Yeah. And then you also, it's revealed that Pedro Pascal's daughter survived the, the shooting and Pedro Pascal's there and he's gonna be all right and all that sort of stuff. It's, it's like crazy kind of mad, mad story. And then it kind of ends with an advert for Tropics, the Eric Sleepy Floyd Yes.

Thing. And you see that. Everybody in the advert all was the cast of the movie. Yeah. So this has been playing in the background. So they'd all attended this seminar and it's basically telling, it's pretty much going, Nazis you should fuck off. Yeah. Which is just

Dan: which is

Reegs: a good

message, especially it feels at the moment.

Cris: Yeah.

Reegs: Like,

Cris: Yes. Yeah. Yeah. It's very in

Reegs: that's the thing. It, like you, it goes without saying. It doesn't go without saying. So, you know, Nazis can fuck off, can't

Dan: Yeah. Can't they? Yeah. I think big time. But these guys did captain Marvel.

Yes. That's what their most,

Reegs: It's certainly their highest grossing movie. Yeah. But I [00:21:00] think this more famous

Cris: one for, at least for us, I would

Dan: I suppose if you've, if you've done a film that makes a billion dollars, it gives you a certain amount of independence. in which to make films that you actually wanna make.

I mean, I, I read somewhere that after Pulp Fiction, Tarantino never had to make another film that he didn't wanna make because. That had made enough films, he could

Reegs: they made loads of money from Captain Marvel.

I seriously doubt they made like life changing money, but I,

Dan: well, as long as they made it for the studio right, then, you know, the studio's gonna allow them to carry on making films or they're gonna have enough people Interest just elevates you, doesn't it?

You know, if you've made a billion Yeah. From, from a movie,

Reegs: it certainly gets your attention to get your film made right and something like this, a really quirky, obvious labor of love for a specific time period in place and just something really [00:22:00] inventive and different.

Cris: Yeah. And do you know what I, the.

O, obviously Pedro Pascal and Tom Hanks are the big names or whatever. Everybody's. Really good.

I

Reegs: Lucid and Tina in the first one. I thought they were great and, and Barbie and entice in the, the first two stories I think were probably my favorites actually. Yeah.

Cris: But honestly, everyone, the, the, the, the Nazis, the the guy, the, the whole.

Concept of it. The one at the end was the one where he kind of did I understand this correctly, so he wasn't actually himself, it was someone else and he's just sat there meditating. That's where it was just all a bit,

Reegs: like a projection of

Cris: No, I know, but that was a bit too much for me. Yeah.

But even that is still like this basketball player, he's into like this Asian swords and manuscripts and all that buy stuff from Christie's and then. He's also a Ninja

Reegs: Yeah, yeah, yeah. I know. I just like the way that they sort of took obviously great things and then it make them even more [00:23:00] absurdly amazing.

So not only was that guy scoring 29 points in a single quarter, he was going home and slaughtering people using the power of his mind, like,

Dan: so yeah, it was unbelievable for all those people that watching and supporting that he would do that.

Why not to extend the story a little bit further. And he kills, he kills

Cris: end, the, at the end, after he leaves the house, hi.

His projection on the wall. The

Reegs: yeah.

Cris: the guy's son, the Nazi guy comes home, the skinhead and on the wall says sleepy Floyd is

Reegs: Yeah.

Which is

Cris: what in blood

Reegs: had said. Yeah. And he's like going, dad, dad. And it's like, he's like literally everywhere he is.

Covering the walls, the ceiling, the floor. I really thought this was great.

Cris: it was funny. It was good.

Reegs: I was really pleased that you picked this 'cause you

Cris: wasn't impressed, I'll tell you that. Really? Yeah. I mean, on. She, to be fair, she liked the, the first two because maybe not so much the fighting bit with the [00:24:00] Nazis, because a lot of blood then she doesn't really care. Doesn't really like that.

But the, the rapid and that's more. It's almost like a music video, right?

Reegs: And it's about, about empowerment as well. So it's a

Cris: pretty much it, it, it's not, it's not, there's no elements of science fiction. There's no voodoo, there's no, it's just basically these two girls that give it to, to the rapper. Right. That, that's pretty much

Reegs: that's pretty much the story. Yeah.

Cris: Yeah. That's pretty much what it's, it is quite cool and it's quite funny, the whole, the way they speak and the whole insecurity, but they still go for it. All that is, but after that, it just became a little bit too violent.

Reegs: and the final 15 minutes is, is very, very violent.

Yeah. So

Cris: But it was, this is, this was brilliant. And the, the music in it is

Reegs: brilliant Superb. Yeah. Yeah.

And obviously full of the Oakland sounds

Cris: And do you know what this is? This is one of them that, because I've watched a lot of movies recently because I went to Romania, I went to London and all that.

And I watched quite a, quite a lot of movies. And you remember we were talking about the Koreans and some films that they filmed in [00:25:00] the night. And you can see all the actors and everyone in a nice light, which doesn't show that there's a, there's a light shining on them. Yeah. Yeah. But it's filmed in the night.

Right.

Reegs: Oh, well Pluribus has put my faith back in American TV making for that reason. 'cause it, A lot of scenes are set at night and you can see them all.

Cris: This is this, but this one is exactly the same. Yeah. Most of the scenes, the, the Sleepy Floyd, generally, most

Reegs: yes. Very dark.

Cris: there's very, they're very dark, but you can see clearly what he's doing.

The, the ones at the beginning when they're in nightclub and the Nazi fight, it's in the night and you can still see everything clearly. It's, it's, again, another one that the colorful is, is really nice in it, even in the day and all that. But again, at least another film that you can see in the night, what is actually happening rather than.

Imagining.

Reegs: Yeah. Yeah.

Definitely

a strong recommend for the lighting and strong recommend overall for me, for the movie. Yeah.

Cris: Strong.

Dan: Nice.

Reegs: freaky.