Midweek Mention... God's Pocket

God's Pocket (2014)

Bad Dads Film Review

Gods Pocket

Sidey: It is on, Jens. It's on this one that we're talking about first. Chris, of your norms. Yes. God's Pocket.

Cris: Yes.

Reegs: It's the start of pocket week.

Sidey: Yeah.

Cris: Well it is Pocket Big pockets.

Reegs: Yeah.

Sidey: Hot Pockets. Hot Pockets. Yeah.

Reegs: All the pockets. All kind of

Sidey: I hadn't heard of this one. It is. Philip Seymour Hoffman's. Well, it says one of,

Cris: yeah. I don't think it's the last one, but it's one of the last

Sidey: I thought we'd watched another one that might have been his

Reegs: that claimed to be his last. Yeah,

Cris: we've watched that one where he's like in Berlin or something. Suppose

Sidey: It depends on the order that they then got released. 'cause this premiered at Sundance and he died a fortnight later,

Reegs: Mm.

Sidey: so it might not be his final performance, but it was.

Cris: The last one to come out, let's say

Sidey: been released. Yeah. And it is directed by a dude called John Slattery.

Reegs: Okay.

Sidey: Who was before that an Act. Tour. And he appeared in Mad Men as Roger

Reegs: Sterling. Yes. Yeah. Yeah. He's a Silver Fox. You'd know him if you saw him. Actually.

Sidey: It also, the film also features Christine Hendrix, who was that says a Mad Men Connection.

Reegs: Yeah. Alright.

Sidey: And I guess it sort of starts off with a voiceover, doesn't it? About, about the town?

Cris: Well, yes. I think it's from a article, from a newspaper

Sidey: Yeah. We meet the guy later on, but he is reading out about what. This place is. So if you imagine the area, they call it God's pocket. If you imagine like Hell's Kitchen or it's that sort of it's a bit rough around the edges. The people there, all, he's describing them in hi in this piece about they all know each other's business. They all steal from each other, but no one really, mines, you know, as long as you're local, but it's hyper-local. So if you are like an outsider, deep mistrust. And this is a, a journal. We haven't met him yet, but this is his piece. And we get a, a sort of tour around the area meeting, getting introduced to all the main characters that we're gonna see throughout the film. And

Cris: the film does start with this narration and then with the funeral.

Sidey: Yeah. So then we see Philip Seymour Hoffman and Christina Hendricks characters come into the, the funeral ceremony. And there's a youngish chap there who looks, I think it's his son though,

Cris: No, his son stepson. His

Sidey: Stepson. His stepson and her son. And then it kind of then flashes back to we were gonna learn how how he died.

Reegs: Mm-hmm.

Cris: How the young glad died.

Sidey: What happened to him? So first of all, we see. Philip seemed offman banging. Christina Hendrix. I would think it's fair to say he got more outta it than

Cris: she, he definitely got more out of it. Yeah.

Sidey: She's just kind of like lying there. And the son's bedroom is so fucking

Cris: Yeah, because you can hear the bed just banging on the, you

Reegs: oh dear.

Cris: headboard just banging on the wall and then he's, ah, you need to wake up, Leon. I'm thinking

Sidey: he's

Cris: he fucking awake, but okay.

Sidey: He's probably having a shit time. When, when he does get out of bed, he's got a handful of pills and it, it's pretty obvious this guy's like, he's not on the straight and narrow necessarily. She gives him some food to take with him. He LOBs outta the windows. As soon he gets, sorry.

Cris: Yeah, straight. As soon as he gets in the car, he just looks inside the sandwich, throws it outside of the window, just in front of their house.

Sidey: He's, he's working a construction job. But I think it's fair to say he's on the like laboring side rather than like skilled,

Reegs: Yeah.

Cris: he is a, a bit of a balance.

Sidey: Well, he's straight away. He's massively racist, isn't he? He, yeah. He comes through some corridor, whatever. He's carrying something. He is like, how come the white man has to carry this? Whereas that, and he drops an, then the end bomb to some old fella gets to go in there and he's in like a sort of,

Cris: the guy's Dr, like driving a digger or a lift forklift or something. So he is actually working, but he just sat in the thing right. Driving around the,

Sidey: he's like double, triple his age, do you know what I mean? Yeah. And then we were gonna cut back to Philip Seymour Hoffman and he, we meet John Ro and another guy, It was sa or something. He's called Saul. He was Carver in the wire. bald

Cris: all sorts of films where he's like either a tough guy or a mobster or a something. Every role

Reegs: the heavy Baltimore

Sidey: yeah, yeah. yeah. I thought that, I thought at first that John Tuo was

Cris: was the boss. Was the guy. Yeah, yeah, yeah. But not

Sidey: he's like dressed. Flash. He's in the car with his shades on, but he's not, he owes money to SA and they're going off to do a job. They steal a lorry, don't they?

Cris: Yeah. They steal a lorry with loads of frozen meat in it.

Sidey: Yeah. And. So we meet them and then we go back to the construction site and they're having a break. They're all having their lunch, and while they're all sat in this sort of courtyard area, this young lad who we've seen that does die, he's just. Shouting loads of abuse. He's just like going through them all, like being a

Cris: he basically tells a story how he killed a cat with his

Sidey: blind knife. He's, he keeps carrying this knife around, doesn't he? He thinks he's a hard man, but he's just a fucking idiot. He's, he really is a fucking prick. And he starts getting racial again with this old fellow. And then he turns around to say something and he just here whack. And the guy, the black fellow, just has fucking hit him over the head with a massive bit of pipe. Hey, that's how he dies.

Reegs: Oh my goodness.

Sidey: So. Pretty soon

Cris: police comes,

Sidey: no one reacts on the site. They're like, sit

Reegs: there and,

Sidey: okay. And it, it's, it's a completely closed shot. This is not getting out anywhere. So the next thing, the police have arrived and they've got this bit of crane that's like hanging down, you know, that you would, you would fuss the stuff to lift off the crane. Basically a big long

Cris: with a hook. Yeah.

Sidey: hook on a bit of chain. And they said, oh yeah, it just swung in it. He wasn't looking where he was going and it whacked it. He wasn't wearing a hard hat. And the policeman's like, yeah, okay. Like there's no blood on nothing. And he is just looking around and everyone's like, yep, that's exactly what happened.

Cris: I've seen it too. I've seen it too.

Sidey: too. And apart from one guy, you can see who's really not comfortable with the bullshit. But he doesn't chap up initially. he he's, I think he might be next to go if he was to speak up. Eddie Mar is in it. You remember him? Yeah. He, so he's the, he's the kind of mortuary guy, funeral

Cris: funeral director guy. Yeah.

Sidey: But he's crooked as well. Like everyone is like, has got an angle. Everyone's

Cris: this is what it says at the beginning is like everyone stole something as a child or set something on fire, but as long as you are from God's pocket, it's okay.

Reegs: Mm. Everything's forgiven.

Cris: So these are the people kind of thing,

Sidey: And they all kind of interact either at work or at night. They go to this bar. The guy that runs the bar was also in the Y He was the judge bloke.

Cris: Yeah. The Hollywood bar.

Sidey: Yeah.

Cris: Which is a shithole.

Sidey: And this is where we first meet the journalist whose story was being, whose Colin was being read out at the start of the little montage area. He's like clearly an alcoholic. He's lining up screwdriver's. Just a ologist. Yeah.

Cris: orange. Yeah. He's got,

Sidey: he drinks 18 of them, I

Cris: 18 because

Sidey: because 19 was, and he's, he's obviously at some point been a quite well renowned journalist. And so people who are into that, I, this young girl who's just graduated from college, she clocks in straight away and like, makes a beeline for him.

Cris: Shelburn something. Shelburn.

Sidey: And, he gets chatting to her and she's sort of in awe of him, even though he looks like a bit of a fuckwit. I think he takes a call while he is speaking to her and the guy says, yeah, I got your column. It's the same fucking column you gave me last year. It, it is something about the anniversary of the

Cris: yeah, yeah. yeah, yeah.

Sidey: Your anniversary column.

Cris: and the guy, and then he goes, well, it is the same one I gave you for the last four years,

Sidey: so

Cris: worry about it.

Sidey: And then he, he takes this girl back and it's so she's talking to him. She's lying there naked in bed. You see like him from the waist up and she's lying there topless and you can just see her hand going up. But he's had so much to drink, he can't get it up. And

Cris: and that's when he says like, oh, you had the 18 screwdrivers or loads of screwdrivers. He, he's like, yeah, I've had 18 of them. I would've had 19, but you drank one. That's why I can't get it up.

Sidey: So he's like a womanizing kind of.

Reegs: misogynist,

Sidey: I'd say misogynist. His wife has left him probably 'cause of the drink. So he's, but it's clear that the piece that, or it becomes clear later on that the piece that was read out at the start is not the one that he had submitted to the paper. 'cause the guy's called him out on it. All the while this is going on, Christina Hendricks has sort of got a feeling that this is bullshit the way he died

Reegs: Mm-hmm. Because the police calls

Cris: it's like, oh look, something fall fell on his head and he died. And she's like,

Sidey: no, that just wouldn't happen. And Philip Seymour Hoffman hasn't got the money at the moment pay for the funeral. So he's doing a bit with Eddie Mar and say, look, I can give you the money in a fortnight's time. Just look, I need the funeral to happen this weekend. You know, I can't, I I'll get you the money, but it'll be in like

Cris: he also, they made a collection at the bar and, because this is actually quite important in the whole grand scheme of things. 'cause they make a collection at the bar, they put a massive jar and then the bartender gives him the money. He's like his 1400. 40 pound. $40. Can you gimme my bag back? It is just like a crumpled old paper bag. It's like when you got, when you finish with it, can I have the bag back, which is quite random. And then he goes, him and John Turo goes straight to the bookies and there's a massive horse that they keep talking about. Then there's a big race and he just basically bets a quarter of the funeral money 'cause he needs five grand. He, he bets 1400 pounds on this horse. Mm-hmm. Who finished his second?

Sidey: Yeah. He's classically, he just watching the race and you could just see the one coming up on the side and it just overtakes him. And John was like, I told you we shouldn't have done the lot, you know? And he's just like, oh, fucking hell. So he goes to see Eddie Mar again, and they get a bit rowdy and eventually comes round and says don't worry, we'll make it happen. And he sends him out through the back door

Cris: Then he trips on, yeah, you

Sidey: falls over in the rain and then he looks down. And his stepson's dead body is just like out in the street.

Reegs: Oh.

Cris: he's basically the, the funeral director. Just, you don't have the money. It's not my problem. I'll take the body out

Reegs: Ply me.

Cris: So he's

Sidey: it almost becomes a bit, almost a bit weak weekend at Bernie's this point. So he, he's trying to like drag him around and lift up. He stands him up against the wall at one point and walks off and he just see the

Cris: he just goes down that

Sidey: and he, he then, because their, their front for their sort of, well, I think it is their business, but it, it is not legit. They, they've got a, like a sopranos, like a fucking butchery, like meat. Wholesalers.

Cris: freezer Van,

Reegs: Mm.

Sidey: the body goes in the freezer van nice

Cris: With all the meats and stuff.

Sidey: And he goes, he goes to try to shift some meat to this butcher because they've always got like whole sides of like beef or lamb or whatever. The guy's like, well, I need to see it. And he is like, well, can you just take my work for it? It's good. The guy's like, no. And he climbs in and he just looks down at fucking corps.

Cris: He just sees,

Reegs: Oh my God.

Sidey: But it's all played

Reegs: like, does he buy the meat?

Sidey: He is like, I don't know what's contaminated and what the fuck. I can't, I, I don't even want to, like, let's just pretend I haven't seen anything. Yeah. So he is like, he is. He knows he has to fucking get this sorted out. And like, it sounds funny, but it is played really dead straight in, in the movie.

Cris: You can see slowly how he, he gets desperate while he, all this is happening. They keep changing scenarios. His misses at home has the two sisters over and the journalist comes to the house and you can see with the first the police officer when he sits with her. He's looking at her like he would want to eat her because she's fish. She's like voluptuous and whatever. And then when the journalist comes in, this guy, he just goes straight away, grabs a hand and

Sidey: just Yeah, he's like totally creepy.

Cris: Yeah, he just, there's, there's no even, and, and she's like, so, do you want to hear him about my son? He's like, let's hands and, and goes up to his room and they just hold hands together and he falls asleep because he's so drunk. He falls asleep in the kid's bed. And he wakes up and then, and then she's like, so you need to, are you gonna tell me more about Leon? You're gonna write about him? And he's like, yeah, yeah, yeah. So while, while Philip Seymour Hoffman tries to sort out this funeral for her kid, basically she's just trying to figure out what happened at the same time they speak to Saul, RO speaks to Saul, the mafia guy, to send some boys over at the building site. To see exactly what happened. If they can find out anything, and the guy beats them up,

Sidey: he puts his thumb into the guy's eye socket and takes an eye out.

Reegs: Ooh.

Cris: And you can see like

Sidey: they, they've, they, these two, like two big guys and they go to the, like the foreman on the site and they think they can intimidate him. He is having none of it. He's even fucking bigger and he just takes them both out. One is, one killed.

Cris: Yeah. One of them. Definitely the

Sidey: The other one loses. Is that Soul's cousin or something? Yeah. So he wants retribution now. So he goes to see John Giro. There's another business, a flower shop that his mom, sister or mom or something. He's an older, she's older than him. I wasn't clear exactly what the relationship was. And she's like, oh, he is not here. He is not here, but he's got your money. And souls like. Fucking raging, and he puts a gun in her face, says, you need to shut up. And he goes into the back. She just pulls out a gun and fucking executes him. Whoa.

Reegs: Whoa.

Sidey: Yeah. It takes you by surprise. That bit. Which is him

Cris: him and the cousin with the

Sidey: takes as the cousin first, and then he looks around and she shoots him twice and he's just dying on the floor. And Josh's like, what the fuck have you done? Yeah.

Reegs: Yeah.

Sidey: Because, you know, he's got bosses that are gonna now come, you know, and she's like, you need to, you, she's, he's like kicking him while he is on the floor. He's like, now you've got blood in your trousers. You need to change, you need to get out of here. She's gonna just play it as a robbery.

Cris: She calls the police and she's like, these two guys pulled the gun to me and I shot basically that 9 1 1 report to attempted robbery

Reegs: Mm-hmm. At

Cris: flower shop. These two guys came in and tried, you know, like an older

Reegs: Mm-hmm.

Sidey: Yeah.

Cris: But she just executed them.

Sidey: So the state of players that Mickey still hasn't got the, the funeral thing resolved and he just needs that to happen. 'cause getting, it just needs to happen 'cause it's a thing that needs to happen. But also he knows like. His wife struggling with everything and it just needs a resolution. So the only thing he can do is now sell the van. So he takes the van, which by the way still has the corpse in it. ask to a guy who's, who's obviously been asking about it before. Yeah. 'cause he says, are you finally ready to sell it? And he is like, yeah, okay. It's gotta be worth six and a half. And they sort of end up on that as a price. And he says, you can look at it. But you can't drive it. And a guy looks at me and goes, I'm telling, listen to me now I'm telling you, you can't get in it. You can look at it it Scope it

Cris: He actually says you can

Sidey: you can start it. Don't drive it.

Cris: but don't,

Sidey: He is like, oh, fuck. I was like, all right, fine. And then they're talking in the office and just see it start driven off, and he, he literally sprints down the road after him. This guy's like looking in the mirror, just trying to drive the car, see if it's all right. Wouldn't, you know it eventually there's a big fucking smash van, like yeah. Yeah. And then you just, there is just a scene in the street of people just looking at this thing going, what the fuck? And then people

Reegs: like a frozen corpse. Yeah, just in the middle of the street.

Sidey: so weak, end bonies. But it's,

Cris: then you see the

Reegs: police. But I'm getting the idea that this is quite a bleak film, really. Like

Cris: You see the police pulling up and, and because it's all like slow, there's no, there's no action, there's no, you know, and you can see the police officer just hands on his hips is looking around and kind of looking at the corpse as if like, if it would be a, a, a knee of beef or something.

Reegs: Mm-hmm. There

Sidey: seem to be any like comeback onto Mickey for this.

Cris: No,

Sidey: He he surely there would be like, why is there a dead body in the van that's registered to your business? And

Reegs: Come up. It's

Sidey: because he runs back. It just, it just comes into, she finds out 'cause it's in the

Cris: Yeah. But he runs back and goes to the guy from the body shop. He's like, you need to gimme the money. And he's like, I need to drive it first. He's like, no, you've agreed. You need, and the guy in the end, we see Mickey, the funeral director, he gives him the money, and then his Mrs finds out from the paper that the, her son is killed again.

Reegs: Mm-hmm.

Sidey: Yeah. So they, they think that, I don't, I didn't really understand that bit. 'cause they know this guy. They know who he is. They know he was, they knew he was dead.

Cris: Well, yeah, I think what they said was when he goes to funeral director, back to

Sidey: oh, he finds the morgue, doesn't he?

Cris: he? He says, I'll call the morgue. and I'll arrange it. So I think because he's the funeral director, he is like, look, I had to throw the court, whatever it was. You don't really know about

Reegs: that. Yeah. Just while

Cris: all, all this is happening and he. The, there's this body flying out of his van. His message gets shacked by the journalist.

Sidey: He takes her out to this field, this bit of land that he owns and he just starts basically fingering her. And

Reegs: And this is the creepy handholding guy. Yeah. Yeah.

Sidey: Yeah. And while they're on the picnic blanket and he just, just sort of coerces her into having sex. and

Cris: it's kind of the same vibe because he's the same. Like

Reegs: to be fair, it's the only way I would've got laid. To be fair,

Cris: just kind of sits there, not really

Sidey: again, she's getting nothing out

Cris: Yeah, she just kinda sits there and he's just kind of having a go and then you are the most beautiful. I love you from the

Sidey: says moment. I've seen. He says they met, they met the, the day before and he is like, I love you. I've, I've always loved you. Like what? Always

Reegs: loved you for the whole

Sidey: then he, then now he's able to write this column for the newspaper, which is the one we heard played out

Reegs: at the beginning, the intro of

Sidey: of the film. So when we go to the, we go to the funeral, it's. Back to where we, the movie started. So we see them sad and crying and whatever. Eddie Mar gets punched outside the which we've seen at the start as well and da da da da. All that happens and we go back to the Hollywood bar and

Cris: And while the funeral gets played, the whole column gets read out.

Sidey: Yeah. And it's sort of, it's, it's one of those that. Like what happens next is he means it to be vis, are you like salt of the earth kind of people that would do anything for you? Yes. It might look a bit rough around the edges and you know, there's not a lot of wealth, not a lot of money or

Cris: and they got dirty faces and

Sidey: what, but these are good people, they're hardworking people, but it doesn't say that it's all like this is cleverly written and whatever. So he

Reegs: goes

Sidey: to the bath. And straight away the landlord's like, you better fuck off. 'cause

Cris: this is not gonna be good for you.

Sidey: and straight away. A couple of younger lads are like, what the fuck are you saying about us having dirty faces and all this sort of shit? And he's like, he looks at me, he's like, it's a compliment. And they're just like, no, they're not having it. So like vigilante mob, just take him outside and give him a shoeing.

Reegs: All right.

Sidey: Mickey like philip him off and tries to break it up while genie's watching for

Cris: Yeah, she's watching

Sidey: go down and, he just has to, he, he gets over power, doesn't he? Mickey

Cris: Yeah, he tries to hold them all off, but he, he just gets pushed aside and just like proper fill him in and he's, yeah, he's basically

Reegs: well beaten to death.

Sidey: Yeah. The camera just sort of pans away

Cris: He doesn't tell you specifically, but everybody in the end just kind of

Sidey: just like

Cris: leaves and

Reegs: you So the community getting revenge on this guy, I guess,

Sidey: Yeah. They, they just misunderstood. Right. Well, the point he was trying to make,

Reegs: they're also

Cris: with the fact that they've seen Jeanie getting into his car and then they're all like.

Reegs: like,

Cris: He fucked her

Reegs: Mm-hmm.

Cris: and she's one of us.

Reegs: Yeah. And we And the outsider.

Sidey: the outside

Cris: it's like, why did he do it? Blah, blah, blah. And then, because even the, the bartender tells Mickey, he's like, fuck you. You are not one of us either. You are not from here either.

Sidey: God's pocket.

Cris: So it's kind of one of them. And I think

Reegs: I know

Cris: at at the end, they kind of go, everything goes dark with the body in the street, which we dunno if it's dead or alive, but it looks more dead

Sidey: than, yeah, I thought he was dead.

Cris: And it moves to. The last scene where John Torro sits outside a, a

Reegs: A

Sidey: like a static home, I would say. Yeah. Like a caravan.

Cris: Like a caravan, a trailer, whatever. And he's got one of those trays that he's soaking up the

Reegs: sun. All right. Okay. And it's him, or whoever

Sidey: it was from the, from the flower shop

Cris: And Mickey, who now lived together in a sunny spot somewhere,

Sidey: He, they've had to flee because they, they killed Saul. So they're living incognito and him, John Ro and this lady walk off with a gun and I was like, what's gonna happen here? And she's just teaching him how to shoot. Basically you just hear a load of gunshots going off and she's training him how to fucking look after himself 'cause she might not be around to do it or whatever. Fade to black the end. Yeah.

Cris: that's the end.

Reegs: end. Wow. happy end

Cris: of, what's happening in God's pocket.

Reegs: Yeah. That's

Sidey: time you get any sort of like color palette in

Cris: Yes. Where it's a bit more colorful and a bit more sunny. Everything else is, it's almost sier.

Sidey: It's dark, it's like raining, you know, like seven Wave, like the whole thing. Movie just seems to be in the rain. It's a bit like that. It's really bleak. It's not, it sounded quite funny when I'm talking about it, but it's not like

Reegs: no, it in

Sidey: in the film itself, there's no one in it. There's no like, redemptive story or any characters to root for, really. Like Philip Seymour Hoffman is the. nicest

Cris: guy of them all, but he's also,

Sidey: a crook,

Cris: stolen a truck and had a body in his van. And, you know, he's, he's not really,

Sidey: really, he's the fuckup, he's a complete fuckup. Yeah.

Cris: and he just spend all the funeral money on a horse and, you know, he, he's not really a nice guy, really. But yeah, I dunno. I quite enjoyed it, to be fair. It's only 90 minutes, I think, or 98 minutes.

Sidey: One hour 28. The one time was I checked. Yeah. It's, yeah, it's patchy film. I would say. It's like tonally, it's. it's bleak, but it's got these weird things with like shifting his body around, which just like unintentionally funny I thought.

Reegs: Oh, right. They don't lean into the 'cause, like something like that can be humorous. Like even in the middle of something really bleak. But

Sidey: yeah, I dunno if they were putting into like light in the mood. Yeah. But it was, yeah, the school was weird. Christina Hendrick like just sticks out in the town because she's so much more like glamorous and better looking than all the only other women we see. I think is the young girl from the college and then the drunk like fuck up in the

Cris: Yeah, the one in the bar and her sisters who are

Sidey: both just shouting all the time. Lesbian,

Reegs: So, but what is it really about? So it's sort of about like closed communities of people. Yeah. It's like a life story

Cris: in God's pocket, basically. Right? That that's

Reegs: the way. And what are we to make of the people of God's pockets? I mean, they sound like cunts basically.

Sidey: Yeah. That's the thing. Like, you know, when you get something like The Wire, which is absolutely about Baltimore and all the different

Reegs: facets. It's very layered. It's got the time to tell a story.

Sidey: You know, what makes this town work, what, how everything sort of fits together. They don't have time in this movie to do that, and it's just sort of saying I don't know what it's saying, but it's like. These people, you know, it's a community where people kind of look out for each other, but if you are, if you step outta line or if you're not from there, then you are being fucked. So I didn't really know what the

Reegs: yeah,

Sidey: The overarching message of it was. But this is short. Did you happen to see that Christina Hendricks. Does do a bit of DJing on the side.

Reegs: Does she? I did not, no. Yeah, she

Sidey: DJs the other day on I think it was, I'm not gonna say that 'cause you won't believe me, but she she did DJ the other night and her playlist consisted of a load of indie rock classics.

Reegs: She likes Indie rock. Does she

Sidey: Spiritualized been there. Wolf fallis. Warper. Dead bones, bones, Japanese breakfast, the knife, Cote twins. Big yes for that. St. Vincent. Bit Lion, Dale, Ray, Tory, Amos Stone Roses. Alright. Ride Beach house. So, the Verve,

Reegs: where was she djj?

Sidey: It was, no, it was at an event in San Diego. Alright. In a bar in San Diego. So that's pretty rad. Yeah. As a moderate recommend, I think the movie.

Cris: Yeah. It is not, it's not a strong recommend, but he Mickey plays like Philip Seymour Hoffman is probably, he blazed really well,

Reegs: He's nearly always the best in anything that he's in, isn't he?

Sidey: Yeah, he's, he's outstanding, but the, the, the role, this roll itself doesn't give him a chance to really flex his, like,

Reegs: it's a lot of TV actors and it's directed by a TV guy as well. So I'm wondering if that factors in into it a lot.

Sidey: Moderate. Recommend.

Reegs: Moderate. Recommend.