The King of New York

The King of New York

Sidey: walking football rigg. Yeah. Check us out. We are top of the league.

Reegs: Yeah.

Sidey: On our own.

Cris: I went to watch the game, by the way.

Sidey: Huge grand stand. They didn't have a goalkeeper, So they had to put someone in goal who was not a goalkeeper and we beat them six one. Turns out the guy was visually in bed.

Oh.

Cris: wow. Was he really?

Sidey: Why

Cris: Why would they put them in gold then?

Reegs: It does seem a bit

Sidey: Like, you know, after was going, no, you can't really celebrate that one

Cris: could have put,

Reegs: I smacked a hat trick past a blind guy.

Cris: because there was a guy that from the first

Sidey: and, and still Pete

Cris: barely walk.

Sidey: score.

Reegs: Pete didn't score. Brilliant.

Cris: store.

Oh, Pete. Yeah.

Reegs: Oh, good, good, good,

Sidey: So that was funny.

Reegs: So is this gonna be the one that's gonna go out on

Sidey: fruit fry tag Friday?

Yeah.

Reegs: Have we started,

Alright. Okay. It's not one of those normal intros then, is it really?

Sidey: No, we don't have glorious intro this day. The other day we really threw Darren because I think it was the one that went out on Wednesday and, 'cause we had [00:01:00] to, I had to edit it on Tuesday when I got home.

It was quite late and I was quite pissed. I think I just fell asleep during the entire bit of the edit. I thought, oh no, hope you haven't said anything

Reegs: I'll just publish it and

Sidey: I'll just publish it. And I just put it out and it just started like total gibberish. And I think it took a little while to get into the

Reegs: me moaning about the football and

Cris: Yeah. Oh, you don't want the arsenal?

Oh, you would wanna watch it if, well,

Reegs: yeah.

Sidey: That's what we're like in real

Reegs: Yeah.

That's,

real peeping behind the

Cris: That's the content you get from the unedited, the director's cut.

Sidey: Yeah. And that's segues. Really well into this Fridays today or another

Reegs: you're listening to it,

Sidey: year. Movie, which is King of New York.

Yeah.

Which, I dunno if this was the first time I've seen it or not. I

Cris: I've, I've seen it before,

Sidey: There was nothing like no recollection while I was watching it, but I was still convinced that I Anyway, doesn't matter. It's

Reegs: And you said the character's name was

Sidey: Frank White.

Cris: Yeah.

Reegs: Because Biggie Smalls calls himself

the black,

Sidey: After this Frank White. Yeah, after this dude.

Reegs: And now I know he meant he was the king of New York. I finally [00:02:00]

Sidey: Yeah. Or maybe just like Christopher Walken.

Cris: Well in this film, Christopher Walken is, his whole crew is black guys.

Reegs: Yeah.

Sidey: He's just the white dude in charge of it all. It gets released from prison. Yeah. So all, all the way through because he immediately goes on like killings, spree. No. But his crew. Yeah. But we see some other people. We see like Lawrence Fishburne some of the other

Cris: John Carlos Poto. Yeah, there's the two girls. Yeah. The, the to attorney

Sidey: and they, they're like shaking people down and, and going off different crews. Then we see Christopher Walken just like menacingly, just not doing anything, just staring at, and he's walked through down through the prison and I was thinking after he gets out, what the fuck was he in prison for?

And like, letting him out seems like a fucking really bad idea. Bad move. 'Cause he. He wants to make amends or it's really twisted this film because so he is, he's a crime boss. Mm-hmm. And there are competing different factions throughout New York

Cris: And there's a limousine waiting for him. Yeah. [00:03:00] Outside the prison. Okay. That's how he gets out. He doesn't just go out and take a taxi or whatever. It's just a limousine

Sidey: him.

Reegs: He's going straight back into the business. Straight back at the top.

Sidey: So it's not important in terms of me, but I was just thinking like they must have got him on, you know, when, when.

You see other films where they can get the, the bad guy, but they don't want to get him for the shitty little crime that they can get him on. They wanna wait for the bigger thing. I'm thinking they probably, they must have got him on something

Reegs: He's done a stretch.

Sidey: He's been inside and he says, he says in, at the end of the film, I've been in prison half my life.

And the drug trafficking, all the drug empires, they still go on. So you're not solving anything by

Reegs: by putting me in jail.

Sidey: But that's, that's kind of what the, the point of the film is. But he goes out. And he's, he's like in this apartment, isn't he? And we see Lawrence Fishburn, what's his category?

He's got a funky name, isn't he? Jim Jimmy Jump. Yeah. He, him and his crew confront him and it's not clear that they actually know each other and they confront and it's like tension. And then Chris Morgan starts doing some fucking mad dance. It's

Reegs: That was like the robot, what you were doing

Sidey: That's what he does.

It kinda like goes on

Cris: just goes, whoop [00:04:00] pack some things and then

Sidey: and that's. My Mr. Recognized, she's like, oh, is he the guy that in the Fat Boy Slim video? Like Yeah,

Cris: Yes.

Sidey: because he was a trained dancer, wasn't He moves.

and he does, he bust out some weird moves and they all laugh and la and way, oh, it's good to be out, blah, blah, blah.

Right. Let's get to business. Which they do by just Yeah. Going out.

Cris: They give him the money, they, they give the king something, Carlo or whatever sends you his regards or it's King Tito. Tito, because that was the Colombians and they, they kind of shot the guy and took his drugs and they kept the money.

Sidey: So they just go get the triads, kill them.

Colombians kill them. The, the Mexicans kill them.

Cris: the Italians the guy with a cigar, like the, you know, the, the head guy's

Sidey: they actually have a chat and it seems like he's gonna walk out and he

Cris: He's like, oh, you shouldn't have done that. Frank, you shouldn't have done that now.

Now we're after you. Whatever. Okay. Bang, bang, bang,

bang.

Sidey: it's ruthless.

Reegs: Do you get like a killing montage or something,

Cris: No,

Sidey: it's not, it's quite a montage, but it happens fast. Like [00:05:00] everyone's gone. And then it's like, because the cast is really good as well, like a lot of big names like on the, on the way up.

Mm-hmm. You got David Caruso, who's the main sort of police guy? His partner's Wesley Snipes. So it was kind of unusual to see him blend a police cop.

Reegs: And you said Jen Carlo is Boto earlier

Cris: Carlo is po. To Lawrence. Lawrence Fishberg. Who in this film is,

Reegs: he? Larry, is

Cris: Yes, he's Larry. Yeah. In this film, in the credits.

Reegs: can't remember when he changed, but I do remember that.

Sidey: Even Steve Chemi.

Is in there. And a few others that you'd recognize. So then you get like, they know that it's him, that he's come out and they just can't, they don't have enough evidence, but they fucking know he's gone out and like started executing everyone.

Cris: And also the subplot is this hospital.

Right. They, they like him and his lawyer, they try, they, they keep talking to someone at the city hall, the guy with a girl, with a, with an absolute. Hairstyle that she's got all the hair pulled back in a tail or something and then she's [00:06:00] got like a little curly alright, but, but one, not like Michael Jackson, Jerry Curl, but one kind of just like one curl, but it looks like, like a unicorny kind of thing.

It looks so shit. And she's a fit girl. Anyway, that guy with him, he's a city official or whatever, and they're trying to get in. He's like, look, if you got $15 million. You do it? And he's like, well, I might have, I might just have to do that. He's like, you need $15 million like this. The city hall doesn't have that kind of money.

And he's like, well, I, I just put that money together. And that's basically what he's

Sidey: yeah, he's trying to be

Reegs: trying to go straight.

Sidey: No,

Cris: no. He

Sidey: because he is happy to execute people left, right, and center. But he's. So cut. So like the confrontation at the end is that it's not it's not Caruso, it's the one above him.

Cris: Yeah. The, I can't remember the chief inspector or

Sidey: he go like, Frank White goes to his house his apartment, and then he walks in, he's like, look, you know what he did, blah, [00:07:00] He's like. King Tito, he had 13-year-old girls hooking on the street. You know, I don't wanna make money like that. All these other, he just lists all the like trafficking and all the other, yeah.

Cris: the Chinese, he would have the Chinese guys, they would have in their flats, they would make, they would sit eight people in the same flat with one toilet to down the hall per each floor. And they would charge each of them $800. I don't want to live like that.

I wanna do that.

Sidey: So he's got like this morality that his drug trafficking is okay.

Yeah. But all the other shit that everyone has to do, and that's not, that's not cool. That's bad for the city.

Reegs: he gonna clean up the city?

Sidey: And that's how he, that's how he just works. That, so he's got this thing in his head that he's he's, if not doing a good thing, it's

Reegs: it's a sort of like Robin Hood type element

Cris: Yeah. That's

Sidey: properly crim robin head. And the guy's like, well. He says, who made, who made you judge during execution? And he just laughs at it. He goes, well, someone's gotta do it. What? There's a bit, there's like a bit on the tube. 'cause quite a lot happens on the tube where he is making out with that girl and she's got a blazer on, and then she takes blazer off and he's got boobs.

And then he gets accost, but he, he's gonna get [00:08:00] mugged by these three black guys. Come over to him and he just, he's so badass. He just stands up and he says, yeah, I don't think you wanna do that. And they're just like, stop. And he pulls out. Big fucking wa of cash, just chucks it up to them and says, if you're looking for work, come see me at the Plaza Hotel.

And they're like,

Reegs: Okay. Be the player. Yeah.

Sidey: And that's the kind of like sway he has in the

Cris: and to be fair all the time, that's what he does. And that's what Lawrence Fishman, who's like his right hand man, he, that's all they do is just give people money. He's like, to that lady when he gets arrested, he orders a million pieces of chicken and

cornbread

Sidey: and all sorts.

Yeah. The guy in the shop gives the kids a load of shit for like hanging around the video,

Cris: machine.

Yeah. The

Sidey: the video game machines. And like, he's like, nah, he gives them a load of cash. Just play the games if you want. He gives the old granny who's looking after them cash to, you know, it is like proper Robin Hood stuff.

Cris: but

also, while all this is happening David Caruso and Wesley Snipes, they get really, really annoyed and they're like, they go to the chief inspector.

Sidey: This is mad. This is

Cris: I can't remember why [00:09:00] they were so upset in that bar, because I think. He was, they've done something with the hospital. They've, they kept the hospital alive or they, they opened the hospital or something like that, and he's on the telly. So basically Frank White is with all these city hall officials and they're all watching the cops drinking in the bar.

And he's like, look, there's only one way we can get this guy. And the, the chief inspector's like, you're not gonna go kill him. You, you can't just. Get justice in your own hands. And then they tried to, they, well, they

Sidey: that's exactly what they do. They do. They, they just he's, they're

Cris: ski masks and

Sidey: in a squat. And they're kind of partying. There's all kinds of drugs getting taken, and it's like almost a fucking, or you're about to break out.

And the police just fucking, just, there's no, like, there's no procedure, there's no warrant, there's no nothing. They just bust in. They're gonna kill 'em. They're just gonna kill 'em. So you get a big fucking shootout. Massive

Cris: shootout.

Yeah. And they, because they all have masks. The only time

Sidey: dunno who it is, they just think it's a rival gang.

And then there's one guy, so there's a shootout, it's all in the dark in this place, and then it bows out into the [00:10:00] street. They get in their cars and one guy jumps onto the car. I think he's hanging onto the wimmer as it's going down. It's brilliantly filmed. They reach over and pull the lar off the guy and recognize him as a cop.

They're like, it's the fucking cob. And this guy just carries real bad move. He just hangs onto the car and the fire hydrant coming up and they just fucking accelerate in and the guy's fucking whacked straight into it dead.

Cris: It's really nice scene as well, how that he just kind of wraps himself around the hydrant

Sidey: It's properly gone and then it sort of. Comes out into like a under ju a trailer? Yeah, under the bridge. Down, down, down. And, and un unused kind of like railway section. And there's a shootout. And it's Wesley Snipes is there against Larry Fishburn. Yeah. And Wesley gets capped. Oh,

Cris: And then Dave Caruso

Sidey: not dead yet.

Cris: But you know what I was gonna ask you? Did, did I see this double or did he actually kiss him on the mouth at the end and said, I love you? Yeah, because he, he throw the film, Lawrence Fishburne antagonizes them and be like, say hi to your boyfriend.

Oh, your fucking boyfriend, [00:11:00] whatever. And at the end what? Wesley Snipes is dead with blood coming out of his gut

Sidey: and he doesn't die till he is in his arms.

Cris: yeah, yeah. And, and then Caruso kills

Sidey: Lawrence. Well, he shoots, so Wesley Snipes gets shot and and Caruso gets there in time to shoot Fishburn.

And he's down. He's laughing. He's, he's wounded, probably gonna die anyway, but he's wounded and, but laughing at him and just taunting him because Snipes is like mortally but he, first, he tries mouth to mouth, but he's like, he's riddled, like riddled with bullet holes. Yeah. And does dine his up mean, like you say, there's obviously like a relationship there.

Cris: He kissed him on the mouth and says, I love you. So I was a bit like

Sidey: surprised that Snipes was damn with that. 'cause I don't

Reegs: Yeah. He's quite homophobic isn't he?

Sidey: I have to fact check that. It could be a, a horrendous

Reegs: Yeah.

Cris: I don't want, yeah. I don't wanna

Sidey: but and then, then Karissa just goes over to and executes

Cris: Yeah.

Straighten the head

Sidey: I can bang and with the gun right on his side, the, you know, it's clear. That's fucking, you know, and this is, did you see that thing in Rio about the, [00:12:00] when they into that in

Cris: the

Sidey: favilla, that drug cartel? Yeah. And there's like 120 bodies on the street afterwards. Yeah. Yeah. That's what this, that's what this kind of police, well, it's not a fucking, this is an unsanctioned. This is an unsanctioned just attack, really.

So they, they we're gonna cut to, where's Snipes funeral in Caro. He can't really hack it. He's a fucking enraged. So he runs the, the ceremony's going on. He just leaves, he walks through the crowd of people, gets in his car. He just looks across a limo, pulls up knocks on his window, he winds down his window and it's just, Frank White just blows his head off with a sorn off.

Just fucking brutal.

Reegs: you see it?

Sidey: Yeah, well you see the blood just fucking fly all over the camera. Over

Cris: Yeah, yeah, yeah. It doesn't, it's not like a, you know, it's

Sidey: horror film, but it's, it is pretty fucking grim. And it's then that he goes off and he waits in the, the chief inspector guy's apartment.

From there, he change, he handcuffs the guy.

Cris: to a

Sidey: Because he, it gives him this story about how he's actually okay because he's cleaning up the streets of all the things that he deems to be unacceptable crimes

Reegs: Mm-hmm.

Sidey: and leaves. [00:13:00] He handcuffs him, chair takes his gun, but the guy does have another gun and he shoots the handcuff and follows him.

And he's, he's just, Frank Whites just sat on the tube, just contemplating. He's just, there's loads of shots of, of Christopher Walker just like being like really menacing and broody, like just staring at stuff. But he just takes a tube and he just sat on this tube and he catches up with him, the fella, and he just takes a hostage, Frank.

He's just got a gun to this woman's head and says, she's just you, you've got family. She's like, yeah, he's obviously terrified. He's like, I'm sure you're really nice. I will not hesitate to fucking blow you away. And he is saying this to the, to the cop and the cops like shouting him, like, it's just me and you just fuck it off.

And Frank shoots him. He lets, he sort of pushes our away shoots the policeman. Policeman does get a shot off and then he dies. Really, really convincing death actually. Yeah. I was watching, I was like, that is the fucking brilliantly done death scene.

Cris: And because it's one of them that he, you can clearly see that he's got shot three times, but he gets one and you don't see,

Sidey: You think it's the hostage because the next time we see [00:14:00] f Fred, he's just walking away. Dead card. He just Still nothing, nothing. He has been shot. It is not immediately you do start to see him like he's, he's really slow, but he is just, there's no blood or anything.

He's just walking. He's got his like trench coat on. Eventually there's obviously there's bedlum because this has happened in a public place. Ambulances, there's police cars everywhere. He gets in the cab and says, just drive. And then he looks, he pans down and he's got blood all over his hand. And then you just, this is quite funny, I thought, 'cause you see all these police just descend.

It's, it's gridlocks Anyway, the car

Cris: it looks like Times Square or somewhere really.

Sidey: really, really busy. And then all the police just line up on these cars. But it got people in them. And I was saying to, if that was me, I'm like, get a fuck off. Why am I get in the middle of a fucking gunfight?

Or they're literally leaning on someone's car with someone like Passeng that, or

Cris: the police will tell you, get out the car and run. Now you're not, you're not just staying in the car.

Sidey: But, but he, he just kind of flops his eyes go and the final shot is just his hand goes with the gun, just falls down and fade to black.

The end,

there's

Cris: backs. [00:15:00] There's, they don't tell you anything else. There's no nothing else. It just, that's it. You make of that

Reegs: But he became a kind of cult. Figure to the, you know, a Robin Hood figure to

Sidey: Yeah, I mean, it was certainly like he, in the film, he has notoriety and, and a level of sort of fame

Cris: and protection from, you know, how it is, all these, all, all these mobsters, until they turn on their own people or until the people turn on them, they, they normally get surrounded.

They go the aura because

Reegs: do they deal with the fact that he's white and everybody else is black in

Cris: Not really, no. Very,

Reegs: has that happened

Cris: briefly. They say

Sidey: think, there's no backstory. There was talk. It's

Reegs: just how you showed him with the money.

It's probably like that

Sidey: Well, he's got no, he's, he's not fuss. As long as you're happy to do what he asks what he needs done. He doesn't care whether you're black, white,

Reegs: you can buy loyalty with cold

Sidey: he's just looking for loyalty.

Cris: It wasn't the, the only thing at the beginning is when Fishburn and his crew greet him after he gets released, there's only, there's the tension at the beginning where you don't know if they're mates or not, and then he [00:16:00] does the dance and they hug.

There is the only time when he's like, why didn't you not come to see me when I was inside? And he go, and Fishburn says, I don't wanna see you in a cage. Then Christopher Wilkin kind of goes, Hmm. But just like, just like, Hmm. And that's it. They don't do anything else. And the only time when there is, obviously they use the N word because the 1990s and it's 1990 on the dot, and it's more the police. The Italian guy, the one with a cigar when he's playing poker or cards, whatever, that he goes like, ah, he's a end lover, right? So he tell that guy that is an end lover. I don't wanna deal with him. Other than that, they don't really reference it as, as him being a white guy that has the

Sidey: they just, the film just plunks you down in the moment in time where he gets outta prison till the bit that he dies.

It's really quick, like, and runtime. But in terms of what they say as well, I don't think there's like a, a long. Period between that, there was talk about doing a prequel movie that was gonna show [00:17:00] how he rose up through the ranks, his rise power, but they never did it. So it's, it's like, it's weird. Super fucking violent.

Reegs: Who was the director?

Sidey: Apple

Ferrera.

Reegs: Alright.

Sidey: Bad lieutenant as well, I think. So yeah. At the premier, loads of people walked out 'cause it's so, like amoral and stuff. E even Farrah's wife walked out.

Reegs: Mm-hmm.

Sidey: But I quite enjoyed it. It is,

Cris: quite enjoyed it. I mean, I watched it before and I knew it's dark.

I, I knew it's gonna be violent and it's a, basically what it kind of says is it's a violent, modern interpretation of Robin Hood. To justify and obviously with criminals and know violent and all that.

Sidey: you don't, you

Reegs: well, they were, some of those were criminals in that story as well.

Sidey: You, you can't root for him though.

This is, this is not like, oh, you know, he is like, he's the wrong side of the law, but he's really, he's okay. No, this guy's fucking awful.

Reegs: Yeah. He just sounds violent and psychotic

Sidey: he is a psychopath. He's an absolute psychopath. Yeah. And it doesn't seem like, a bit like when we watch [00:18:00] Badlands like. What's his end game?

Reegs: Yeah. And how did, did the community really benefit from loads of drugs and

Sidey: It's, it's completely nihilistic, really in its worldview. You know, just New York looks like an absolute hellhole. Really. That's, that's what it's kind of saying. And, and maybe it was better off 'cause he killed virtually all the other drugs, gangs and now he's gone. Maybe it's got a chance after that, but it, I don't, the film really states that.

But still after that I still quite enjoyed it.

Reegs: We've got a new king in New York now, haven't we? Zo and Momani.

Sidey: Danny. Yeah.

But they won't have any funding to do anything, so that's gonna challenge.

Reegs: But he's taking on Trump in a straight fight.

Sidey: Yeah.

Cris: Anyway, yeah, I enjoyed the film. I didn't really look into the morality or non morality.

It's a film from 1990. You know how it is whenever we do any, any

Sidey: bang banging soundtrack.

Cris: Yeah. But any, anytime we do any of these films from. Earlier than 98 or whatever. It's like the morality of it is always into question, right?

Reegs: Yeah. Values,

Cris: the, the values, the, the way the people speak, the, the, [00:19:00] you know, the race or the or the age difference or whatever.

It's all, it's, it's just,

Sidey: know what, when I watch a new film now someone's smoking in it, it really like sticks out

Reegs: Yeah. Yeah, it does. Yeah. Oh, well, it means it's coded differently now to what Smoking meant when you saw it when, in the nineties or whatever.

Sidey: Yeah. But what do you reckon

strong.

Reegs: Strong.

Yeah. Definitely. I haven't seen it, but yeah.