Top 10 Highest Grossing Non-Franchise Movies of All Time and 5 Non-Franchise Movies That Changed Cinema in the Last 5 Years + Movie Review: Saw X + Trailer Park: Ferrari

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Speaker 1: Hello, and welcome back to Movie Mike's movie podcast. I am your host Movie Mike, and I am fired up today. I am not to be messed with because I am sick and tired of people calling out superhero movies and Martin Scorsese is at it again. I'll get into his comments. I'll give you my movie rant of the week. In the movie review, we'll be talking about Saw X, a movie that caught me by surprise being the tenth film in this franchise. And in the trailer Park, we're gonna talk about a movie trailer that is so subtle but won me over by the end of this teaser that I cannot wait to see this movie. It is called Ferrari starring Adam Driver. So much to get to this week. Thank you for being a part of this podcast listening every single week. Shout out to the Monday Morning Movie crew. You guys know who you are. And now, oh, almost lost my mic there for a second. Let's talk movies. I'm just that hype today.

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Speaker 2: In a world where everyone and their mother has a podcast, one man stands to infiltrate the ears of listeners like never before in a movie podcast. A man with so much movie knowledge. He's basically like a walking IMTB with glasses from the Nashville Podcast Network Movie Mike's Movie Podcast.

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Speaker 1: Like I said in the intro, I am fired up because legendary director Martin Scorsese, who's done movies like The Wolf of Wall Street, one of my favorite movies of all time, Goodfellas, Raging Bull. The list goes on and on. He is literally a living legend, but for some reason, every time he comes out and does an interview, he has to throw superhero movies under the bus. And what he said recently got me more riled up than anything he has said so far about superhero movies, who he has just spoken out about them historically, not liking them. And what he has said recently is he his concern about future generations of moviegoers. It seems to be that his beef is with superhero and French films and what they are doing to our culture. He says we need to fight back against thinking that's what movies are. He said, the danger there is what it's doing to our culture because there are going to be generations now that think that is what movies are. And he went on to say that we need to go out there save cinema and stop making franchise movies and support non franchise, non superhero movies. So let's just unpack what he's saying there, because I think now he is completely out of touch. He is so old school in his way of thinking that he doesn't realize that both things can exist. And I love that he called out Christopher Nolan in particular, saying that we need to go support films by Christopher Nolan forgetting that Christopher Nolan created one of the greatest comic book adaptations of all time with A Dark Knight. Clearly he did not watch those movies and that came out in the two thousand So is he that out of touch that he didn't watch The Dark Nine two thousand and eight? And I think the rea and he referenced Christopher Nolan is because he has historically made really good standalone films, not a part of any franchise, and his main movies in the last decade that has really pushed cinema and given audiences something new and fresh to go see. And Christopher Nolan is a great director, but I honestly think what punched his ticket and being able to make any movie he wants now was doing such a great job with the Dark Knight trilogy that really cemented him, and then came out more bangers like Inception and Interstellar, and has done so much work there, but we are forgetting that he also did a great job with a superhero franchise film. But again, the reason I'm so fired up here is because he's missing that people can enjoy and appreciate both. And I think he is so wrapped up and worried that people aren't gonna go watch Killers of the Flower Moon, And I feel like this is a way of protecting himself, saying that the only things making money and the only things pushing the level as far as the box office are superhero franchise films. But it just sounds like to me he is worried that people will not watch his film because it doesn't have a superhero in it. I honestly think that good work will speak for itself, and you're probably even putting it out at a good time right now where I feel like there is a little bit of superhero fatigue. They just announced that The Marvels is going to be the shortest running MCU movie of all time, at one hour and forty five minutes, and I think that's something that would have been a bigger story maybe two or three years ago, but right now I think we're like, okay, we're good with the Superhero movie under two hours, which historically they've always pushed that at least two twenty two thirty run time. I think one hour and forty five minutes is great for a movie like The Marvels. And that's what he's getting wrong, is that I'm going to go see The Marvels. I'm also going to go see Akaman two later in December, but I'm also really looking forward to Killers of the Flower Moon. So don't tell me what is killing cinema when both can exist and flourish. Dude also puts out a three and a half hour movie and wonders why people are hesitant, which makes me feel like he is no longer making movies for his audience, which I think at his level, he probably doesn't really care about that so much. He is wanting to make movies that are important to him, and he's gonna make you sit there and watch them no matter what, and you better enjoy it or he's going to yell at you, which I think once you get to a level that he is at where it really doesn't have to be making movies at all anymore. He could have retired ten years ago, but still he continues to put out these films, and he feels like audiences need to go and respect them. I just feel like it's coming from a very self serving state of mind that he just wants you to go and support his movies, in particular because he even forgot that Christopher Nolan made a superhero movie. He just cares about himself. Essentially, is what these statements boil down to. When I really think I don't mind franchises, I don't mind superhero movies. Why honestly, I love them. And here's what it really boils down to. When I think about my favorite movies, oftentimes they are standalone movies, not part of a franchise, and they are never or rarely a sequel. When I think about the list of my top ten favorite movies, that is exactly how they stand for the most part, because I think those movies are the ones that create a unique experience, that change my state of being in some kind of way, or that really alter my life or change my way I view the world. Because they are that impactful. I think it takes a movie like that to really resonate with audiences, and those often come from movies that are not part of a franchise or are not a sequel. I could argue still that a lot of those could still be superhero movies, So I see it more on the franchise side than the superhero side. But I do think that franchises build relationships, and I can find myself loving a franchise more than I love an individual movie. Makes me think of the Harry Potter franchise, where as a whole, as a collected work, it is one of the greatest franchises of all time, and I think as a unit, with all of those films together is stronger than any one individual movie because we grow up with those characters, we learn from those characters, and there are different moments from every single movie that we love, so as a whole, those work better than if it was ever just one movie. And the way I think about it is I approach every different movie I watch with a different set of expectations. I don't need every single movie to change my life. I don't need every single movie to reinvent cinema. Sometimes I want that, but sometimes I just want a movie that is going to make me feel good, that's going to make me turn my brain off, that's going to give me some action. Essentially, Martin Scorsese is saying every movie needs to be a banger and push cinema, and the only time you should go to the theater and spend your money is for movies like my movie. And so that I say. Bart Simpson said it best with glasses that thick be so stupid. So what I wanted to share with you first will go through the top ten highest grossing non franchise movies of all time to get a look at the landscape of how impactful movies that have no connection with any other movie and are also not superhero movies. At number ten is Et making seven hundred and ninety five million dollars, which is not just the result of the first time it was ever in theaters. The movie gets re released every anniversary or so, so it continues to generate money. That is some fine Spielberg movie making. With that, at number nine, you have Coco, which is made eight hundred and fourteen million dollars at the box office. I almost feel like certain studios are a powerhouse in themselves. And I really think that animated movies don't get the credit they deserve for being really great stories, because anytime you see something animated, you think, oh, it's made for kids. In this case, yes, it is geared towards kids. But if you look at the story in Coco, if you look at the actual art and the character design and the animation, that movie really pushed the boundaries. So I'm also glad that Pixar historically doesn't make a whole lot of sequels. And I say that thinking of all the toy story movies they've made in the cars movies, But I like it when they come out with movies like Coco, they tell the entire story and don't feel the need to start cranking out more. I think the really great Pixar stories are the ones that get it out all in one movie. At number seven, you have Inception from Christopher Nolan, making eight hundred and thirty nine million dollars at the box office. At number six, another Pixar movie, Inside Out, making eight hundred and fifty three million dollars at the box office, getting into the top five. At number five, you have a biopic Bohemian Rhapsody making nine hundred and ten million dollars at the box office. That one is a little bit surprising to me, one because I really don't enjoy biopicks a whole lot when it comes to biopicks of musicians. They keep making them because we all love music, and we love these iconic figures in music. But I just feel like music biopics as a whole don't generally do the artist justice. Very rare does it happen. They are just not my favorite movies to watch because I always feel like they don't give you the full story, especially with Bohemian Rhapsody. And I think the reason it did so well is because everybody loves Freddy Mercury. He's an iconic singer. He also has a very tragic story and he has not been alive for a very long time, so I think the demand was there at the time this movie came out. The thing I did love about this movie is even though I didn't love the actual film, it did make me go discover and rediscover some queen music. I've never really historically been a fan of rock music during that period, but you can't deny Freddy Mercury's voice. I also can't deny Rammy Malick's performance as Freddy Mercury in that movie, which he got the Oscar for, so he deserved that as a whole being in the top five here. I don't necessarily love it, and I'm glad that the biopick that ranks above it took its slot fairly recently, because at number four is Oppenheimer, which has currently made nine hundred and twenty six million dollars at the box office, which is an amazing feat not only that it's a biopick, but also that it's a rated R movie and the only rated R movie in this entire top ten. Also the fact that there's really nothing flashy about this movie, very limited if any CGI really just straight ahead acting and a whole lot of dialogue, which some people find to be a turnoff when going to watch a movie. But I think when it comes to Christopher Nolan, dialogue matched with the score that keeps the entire conversations moving along, that makes you pay attention. It works so well for me. So for the people who said that Oppenheimer was boring, I hate that for you. I'm sorry you had a bad experience. But it's a great movie. Love to see it in the top five at number three. This one may be a bit country because, well, I'll get it to why exactly that is, But let me tell you what it is. First, Super Mario Brothers, the movie that came out earlier this year, has made one point three billion dollars at the Fox office. It is included on this list even though they have made a Super Mario Brothers live action movie before this, and even though it is connected to a well known video game franchise which Mario is one of the most iconic video game characters of all time, which I feel does contribute a lot to its success at the Fox office. There hasn't been a movie like this made that is a great representation of what it's like to play a Super Mario game. But it's not a part of a franchise yet. They are probably going to make more movies within the Super Mario world, but as of now, it is just one movie. It's not a superhero movie, so if you're questioning its placement on the list right now, it is a standalone movie. So I'm surprised in a good way at the success of this movie. And I think when it comes down to animation. It's how much do kids love it? Showing you that kids love Super Mario Brothers, and also that this movie didn't really have anything you needed to know about the characters going into it. There's also just not the biggest plot in this They're not really trying to teach you a lesson or throw anything else in here that's going to go over kids' heads. It's very much an honest kids movie, and I think we really needed one right now. So that is a big win for Illumination, who normally just makes all their money on the Minions movies. At number two, which is also the number fourteen highest grossing movie of all time, but at number two, as being one of the top ten highest grossing non franchise, non superhero movies of all time is Barbie. As of the time of recording this podcast has made one point four billion dollars at the box office. This movie continues to crush it and I'll get into more why I think Barbie has changed the landscape of cinema in my list coming up after this, but that is just an incredible feat to have come out this summer in July and not only landing at number two on this list, but at number fourteen of all time highest grossing movies. So fantastic for Barbie, which is a great movie, but at number one, the highest grossing non franchise, non superhero movie of all time is the one and only Titanic, which is made two point two billion, and it is the number four highest grossing movie of all time. James Cameron is undeniable as being somebody who knows what it takes to make a big cinematic film, and he has so many of the highest grossing movies of all time that if you ever bet against James Cameron, you're gonna lose your money because he only really cranks out hits. So that is that list. But as I continue ripping Martin Scorsese to shreds, I have another list for him. Five non franchise movies that have changed cinema in the last five years, and I'll tell you why. I'll start first, in no particular order, at number five. We've been talking about it earlier, but it's Barbie, and I think it's because it has made that much money at the box office and we are still going to see the effects of this movie in the years to come. I feel like this movie is going to open the door for more female directors, because let's be honest, it is a sausage fest out there, and every time a list comes out of the best directors of all time, there is always just a lack of female representation, and I think that needs to change. And I just saw something in Greta Gerwig's work very early on kicking it off with Lady Bird. She is a director who knows exactly what she wants to say and how she wants to say it. All of the actors in her movie have such a trust with her, and it is just so important to trust a director when making a movie, which I heard Robert Pattinson talking about this recently, which he says he relies so much on having a great director and a great script, but at the end of the day, it is his face on that poster, and if it's not good, he is going to be the one that gets ripped to shreds. No one is going to rip the director, no one is going to rip the script. They're going to say that Robert Pattinson did not do a good job. So I think that I've seen so many great stories about Greta Gerwig and her actors trusting her and her putting them in the best position to make them look great and to make the story flourish. And I think Barbie is the best example of that. So if she can do that with Barbie, break down the Door, hopefully all these big executives making the decisions on what directors to attach to what films they bring on more directors like Greta Gerwig, who now has the ability to make any movie she wants. I think Christopher Nolan, who we've also been talking about, he kind of got that right after he did the Dark Knight trilogy, but really cemented himself with Inception, and now he can essentially do whatever he wants. I feel like, after you make a movie that has grossed over a billion dollars, you get that right, and now they're gonna have to pay her a lot of money. So that movie makes my lists from this year. Look at that. There's two movies from this year that have changed cinema release on the same weekend, Martin Scorsese, what are you talking about? Did you not go to the movies this summer? Because on that same weekend we got Oppenheimer, which is now the biggest biopic of all time, talked about it earlier, beat out Bohemian Rhapsody. So I think this is also changing cinema and showing you that movies can be significant, they can be impactful, and they can resonate with audiences, even if they take a story like Oppenheimer, which is just a character study on Oppenheimer, who is this theoretical physicist and by no means on his own, is there anything particularly sexy about his story on surface level if you were just reading it on a textbook in a history class. But you take his story, give it a great director like Christopher Nolan, it opens up the door for so many more great biopicks. I even think of Air, which came out earlier this year, showing us that you can make a movie about shoe be one of the best dramas of the entire year as well. So it gives me hope that every single biopick that comes out doesn't have to be a famous musician anymore. With movies like last year Elvis coming out, There's a Bob Marley biopic coming out, I just feel like we get those movies so frequently that I get less interested because I think they have run out of icons at this point, and I feel like those movies lose out on some attention to detail because they're just telling the story of an iconic character in music, and you think the songs are going to speak for themselves, and you don't really have to focus so much on who you cast for it or who you get to direct it, which is really the most important thing. So then you get these movies that look like they deserve to be shown on a cabled network, and I'm expected to go see those and think they have some kind of value just because they're about somebody really famous. So I think Oppenheimer is going to change that and get back to making biopicks about people in history who actually have really great stories to tell if you put the time and effort into it, like Christopher Nolan did. So that is my number four and number three is another recent movie came out last year and swept the Oscars this year. It is everything everywhere, all at once. And the way I feel like this movie is going to change cinema is because it was able to have such a massive look with a relatively modest budget of twenty five million dollars. And I think the way that this movie has changed cinema is showing that you can make a film on a relatively modest budget. This one only costs twenty five million dollars to make. We're not going to make one hundred and forty one million dollars at the box office, but had this massive cinematic look and obliterated what we thought we knew about any kind of multiverse situation. In a year where Marvel also put out Doctor Strange in the Multiverse of Madness, it put that movie to shame. It made that multiverse look so one dimensional because there was so much more creativity in this movie, so much great use of editing that made this movie look even bigger than that twenty five million dollar budget. And in a world of remakes, reboots, sequels, superhero movies, I think you can't go wrong with any A twenty four film, which is a studio that put out everything everywhere, all at once. Looking historically, in the last five years of A twenty four, they have created some of my favorite movies that are all standalone, non franchise, non superhero films. I mean, just looking at their last five years. This year we got Talked to Me, which is a great horror movie. We've had the Whale, Uncut Gems, Hereditary, Lady Bird. Really just diving into A twenty four on their own, they could be single handedly saving cinema. They don't make a big fuss about it. They're not telling you to not go watch those superhero films as well. But you know, when you go watch an A twenty four film, you're gonna get something special, You're gonna get something unique. Some times they miss. Sometimes they put out some really boring movies that you really have to think about and their hit or miss. Sometimes A twenty four puts out some very meta movies that you watch and you don't understand whatsoever until you go read an article on the Internet of some other nerd who didn't really understand it when they watched it, but made up all these theories, and then we're all like, oh, we get it. It's a metaphor for why we all had terrible childhoods. But yes, essentially, I could have put every A twenty four film the last five years on this list, So go check out all A twenty four has to offer. But at number two, I have a movie from twenty twenty one called Coda. It made history as being the first movie to win Best Picture that came from a streaming service. It was put out on Apple TV Plus back in twenty twenty one. I love the representation in the film, and the reason I feel like this movie is changing and has changed cinema is because it is just great storytelling at its finest. In Coda, you will not find any gunfights, no explosions, no fight scenes, just regular people maybe having arguments. They may be raising their voices, but it shows that you can just make a slice of life movie that has a lot of great representation and make it really resonate with audiences. That's all you have to do to make a great movie is create an emotional connection, in this case, in a story in a world that even though we don't really know a whole lot about. So not only did it shake things up by winning Best Picture coming from a streaming service, but the movie also came out in August and was still able to win for Best Picture, which the game has been to put out your movies in November and December during that Oscar season, being able to bait Oscar voters into remembering your movie and thinking, oh, I need to vote for that movie. Whenever I throw in my ballot. Coda shook things up by being a movie that came out in August and still took home the biggest prize, but at number one on my list that have changed cinema in the last five years. Again, and this is in no particular order, but this is another movie that came out in twenty twenty three. So in my list, I have three movies from this year, but I'm gonna go with Megan, which I feel that it is so hard to create a lasting horror character. There's always been the major ones. You're Michael Myers, You're Chucky, You're Jason. You also have whatever to consider your second tier with your ghost face, your leather face, and your Pennywise to clown. But now I feel like after Megan, a new horror icon is born, and that is huge because now I feel like this is going to be a character that reshows itself every single Halloween. I'm already seeing people dress up like Megan, wreaking havoc in neighborhoods, walking around in a Megan costume. It is very hard to create a new horror character that is iconic as all the ones that have been around for years and have so many more movies connected to them, but Megan has done that. And the other reason I chose to include this movie is because as of now, there is only one. But of course we've heard that Megan two is coming, and of course that means Megan three is coming in four. There'll be some spinoffs, there will be a prequel. It's going to be a big deal for a very long time now. But I don't think franchises are bad. It shows you that if a character has success and we attach ourselves to it, we want to see more of it. It's not a bad thing. You can't hate on a movie for being successful and then wanting to create more movies to tell more of the story. It would be like me hating on somebody for being good at their job and getting a promotion. I think the goal is to create a movie franchise, and I think sometimes franchises are necessary in order to tell the entire story of a character. Think of Guardians of the Galaxy earlier this year. Finishing out that trilogy in a perfectly well told story where every single movie was more and more character development. You get a part one, two, and three, and that is the entire story. Now, there are some other franchises like The Fast and the Perious franchises where they're pretty much stand alone and you don't really have to watch all those to make sense, and it's just like, yes, every couple of years you get a new movie. That is really the only situation where you could argue that franchises are bad. But even then, if you make a movie and people love it and they want to go see it, why would you deny them that? And as formulaic as some of those movies tend to be, they serve a purpose. So I don't think that the solution for saving cinema is just supporting non franchise, non superhero movies. I think the true answer here is to support any movie that you enjoy, support any director that you want to see more movies from by going to see their work in theaters or paying for it to watch on the streaming services. That's all you have to do. Watch what you want to watch, enjoy what you want to enjoy, and don't feel bad about it because some dude passed his primus telling you that you should feel bad about it, and go watch this three and a half hour movie. So that is all I have to say that has been my rant of the week. Come back talk about Saw X, speaking of big, long lasting franchises, and in the trailer park, we'll talk about a new movie called Ferrari that had my jaw on the floor because of how few words were spoken in the trailer, the least amount ever that has made me want to see a movie. Let's get into it now. A spoiler free movie review of Saw X, the tenth film in the franchise, from a film series that captivated audiences starting back in two thousand and four in one of the most mind blowing and jarring movies of our lifetime in the horror genre. And to be honest, I have fallen out of love with the Saw franchise over the years one, two and three. I was good, but after that they became formulaic and it's a hard franchise to really attach yourself to because really the format is the star. Have your players playing the game trying to save their lives. This whole big reason that John Kramer has crafted because he is somebody who has been fighting for his life and wants to show the people who are taking their life for granted how much they should appreciate the things that they have, So really, the Saw movies are the most wholesome when you think about it, teaching us a lesson that we all need to know. We find John Kramer again. He is sick. Basically, the doctor has told him that he only has a few months to live, and they tell him to take it easy. He says, I'm not taking it easy. I'm gonna go out fighting this thing. So what does he do. He learns about this experimental medical procedure in Mexico and it's supposed to be one that can cure his cancer as far along as he is. So he travels to Mexico and then learns about this entire operation and realizes it is a scam to defraud the most vulnerable. Again, that's all in the IMDb description, so I'm not rooting anything by saying that, but that's the entire movie is him getting back at these people who have stolen money from him. The interesting thing about this movie it has an entirely different tone, and even in the first twenty and thirty minutes, I was worried a little bit because it spent so much time on his story, what he was going through, that it really felt like a drama that I wouldn't have hated, but I don't really go into a Saw movie wanting a drama, so it does take this movie a little bit too ramp up. And like I told you how I feel about horror movies that have really slow beginnings, it always gets me. It always feels a little bit like, all right, let's get to the action here. But once it does. I'm not gonna say it's NonStop throughout the entire movie, but it is so intense when it does show these moments that I feel like they had to really step up their game in this movie to make it feel more gruesome. And I paid attention to all the little sound effects and all the blood squirts and all the practical horror elements that they use that I found myself a person who is really desensitized to anything bloody, anything gory. I can watch the most hardcore violent movie and not feel a thing coming from me. I found myself a little bit squeamish, and some things were hard to watch. I have a thing about bones breaking and the sound effects they use of bones crunching and blood curdling. It was so well done and so properly used that it even made me feel queasy that I still kept my eyes on the screen the entire time because I felt like if I didn't watch it, I would be missing out on what is happening here. But it was hard to watch it, and I just found myself doing this face like, eugh, this is hard to stomach. But if you are squeamish, this movie is not for the faint of heart. And after watching this, it made me think, how has this soft franchise become such a household name with how gruesome they are. It's just torture in every single film, and they take it to the such extremes and they're so creative that you wonder what are these writers going through while they are thinking of all these plots. It's like a sick Looney Tunes scale every single time. So it's just surprising to me that this has become so mainstream and we're all kind of cool with it. So if somebody says Saw is their favorite movie franchise in the horror genre, I question their judgment a little bit. I'm gonna be looking into your internet history. So this movie isn't really scary. I don't think the entire franchise is that at all, but it is so gruesome and the most gruesome I've seen this franchise in a very long time, so I think that is going to get people interested in this franchise again. But it's that connection I had with John Kramer in this movie that I hadn't really felt since maybe Part two, because for the first time, he's not a good guy. He's kind of an anti hero. He is doing these things for arguably a moral reason, but he's also the villain too. So I found myself going back and forth in this film. Do I think he's doing good? Do I think he's a bad person, Because at the end of the day, like he says, he is not killing anybody, they have the choice, but he's just putting them in these situations where they have to fight for their life. So I found myself being so conflicted of rooting for him but also rooting against him because it's just hard to see people put in these situations. So I feel it from both ends. But again, in this movie, they screwed him over so did they deserve it? I don't know. He's like a hardcore vigilante, so overall, like it is in the rest of the franchise, the format of the movie is the star you have all of these people playing this game. I would say the only thing that really held me back from fully loving this movie. There were a couple of things. One is that the acting is pretty subpar. And again, I don't really go into a Saw movie thinking there's gonna be stellar. Acting in this Saw film wasn't really the case. But it was so bad in parts that I found myself disconnecting from the story because I was annoyed by their performances. One character in particular, I was like, all right, just kill this guy because I can't stand him anymore. But maybe they were just trying to make a really unsufferable character. So not really on them for making me hate him so much. I think actually being able to write a character that invokes that emotion, it's a pretty powerful thing. If I left a movie feeling annoyed because of one specific character, I feel like they did their job. But man, I was waiting for it to get to his game because I wanted him out of there. I did not want him to win. I was definitely rooting against that guy because he was so so annoying. But there were other interactions in this movie with different characters that felt very soap opera ish, not with anything with John Kramer. I think he is so great in that role. His voice is iconic in the Horror franchise, but it's just his interactions with everybody else felt a little bit cheesy at times. My second issue with this movie was the runtime. I'm not against a long run time if it has a reason to be that long, but those first thirty minutes of building his story could have been condensed a little more to get to more of the action, because that's what we want in a Saw movie. We want more blood, we want more guts. Felt like it was so slow in the beginning. I found myself being bored and it was it's hard to come back from that that. It really wasn't until halfway through the movie that I realized I'm really enjoying this because it had me so bored in the beginning. So I worry that if you don't go see this movie in theaters and wait to shriam it, you may not get through those first thirty minutes because it doesn't really hook you in. Even though it is emotional in the beginning, you do get to feel a lot of the pain that he is going through, but man, you just wanted to get to the action. And if it would have been at that one forty minute range, oh man, it would have been a much better, more cohesive movie all the way throughout, and I would be telling you you need to go see this movie in theaters today. It did make me feel oddly nostalgic, and it reminded me of the epic music that they always have at the ending of a Saw movie, and whenever this music played, I was like, oh, yes, like this kind of takes me back. So there were those moments where it felt like they were calling back to the original song, calling back to those early films, without it feeling kind of cheap and kind of reminding the audience, hey remember when we did that, which I feel other horror movies do that. They just do the exact same things that they did in the early films as a callback, but it just feels like they're reminding it, like, hey, remember that that, We're gonna do it again. It's cool reference. Not in this case, it was more like odes to the original one subtle nods, very subtle placement of things that happened in the first and second movie that they brought back in a more sophisticated way, in a more subtle way that didn't really feel like they were just cramming it in there for the sake of nostalgia. So in the end I left really enjoying this movie. I'm about twenty four hours now after seeing it and I'm still thinking about it. So that is the sign of a good movie. Also the fact that whenever you have lower expectations going into a movie and it kind of obliterates everything you thought the movie was going to be, those movies always just stick with me and mean a little bit more to me. So if I had to rate Saw X, I would give it four out of five body parts.

00:35:01
Speaker 2: It's time to head down to movie mics.

00:35:04
Speaker 1: Trailer, Paul, this is one of the most polarizing movie trailers I have ever seen. And I think a great movie trailer is supposed to leave you wanting more. It's supposed to be a teaser. It's supposed to give you just the taste, just the taste of the story, but make you want to go back to the theater to watch that movie. That is what a great trailer does. The bad trailers give you the beginning, the middle, and the end in those two and a half minutes, and then it's completely ruined. They also tell all the good jokes, show all the scary parts. That is the sign of a bad trailer. But what I love about the Ferrari trailer is there is only one line spoken in this entire trailer, and I'm gonna play it for you here in a second. But the rest is just the sound of a Ferrari just blaring throughout the entire thing and showing you all these dramatic moments in this movie. And this approach to making a trailer is one I have not seen done ever before, showing you all the drama but not giving you any of the words, not really giving you a whole lot of context. But just from watching this trailer, I can tell you there's going to be maybe a sex scandal, There's gonna be death, there's gonna be some money issues, there's gonna be racing, there's gonna be tragic situations. And I get that all from the expressions on the actor's face. You have Adam Driver, Penelope Cruise, Shane Lean Woodley all in this movie. So I'll play a little bit of the Ferrari trailer and tell you more about this film. That really just has my jaw on the floor because I feel like right now every trailer just has to give you so much because they're begging you to go to the theater that I'll watch this movie. So that is a big statement. I love the risk. I hope it pays off for them. This movie is coming out on Christmas this year. Here's just a little bit the one line spoken in the Ferrari trailer, if you get into one of my cars, you get into wind. So Ferrari follows the real life story of Enzo Ferrari. In that trailer, all you hear is the blair of V twelve engines with just that one line of dialogue, which really, for me, just sets the tone that this is going to be a very dramatic movie. So what a great way for a trailer to showcase that drama and showcase that emotion. What I took away from it looks like he cheats on his wife, it looks like he loses his son, maybe has some kind of an affair with Shalen Woodley. Again, these are all just my interpretations from the trailer, and I love that I just have all these questions going into it, which normally a trailer just answers every single thing, the who, the what, the win. But I love that there are questions that arise from this, sparking my curiosity of wanting to watch this movie. But the story of Enzo Ferrari goes back to the summer of nineteen fifty seven. It finds him at a time where bankruptcy has threatened the factory that he and his wife have built from the ground up. Seems like they have a pretty rough marriage that was only made worse by the loss of their son, which we see in the trailer for this movie. And what I take away from Enzo Ferrari as a person after watching this trailer is that he is somebody who is probably a little bit troubled, maybe hard to be around, maybe hard to love, but has a passion for racing, has a passion for driving, and has a passion for creating very top of the line cars like Ferrari, which is not only a really expensive car, but one of those very prestigious cars that has its roots in Formula one racing. And he was a big driver, no pun intended behind that have Adam Driver really living up to his name in this movie It's like he was born to play mister Ferrari. The movie comes to us from director Michael Mann, who also did movies like Ali, heat Less The Mohicans, but hasn't done a movie in eight years. So whenever director who has a great body of work like that comes back to do a movie eight years later, it makes me feel like they found the story they've been wanting to tell and are gonna do it in a way that is really going to resonate with audiences. Also, recently, I talked about how there really aren't that many great racing movies when talking about Grand Tarismo, that for some reason I hold racing movies to this really high standard, like they are very prestigious. But when I really started to look at all the racing movies that have come out aside from Ford v. Ferrari, which Michael Mann was actually an executive producer on, there really aren't that many great ones. And I'm not really getting the feeling that this is going to be a straight on racing movie. I think it'll focus on how he built the company and how he built the car, and how he wanted to make it the best and fastest car and have the best drivers to really represent the name. I think it's going to be more along the lines of what we saw with movies like Air the Social Network, a very deep character study on the person behind the idea. But there are some really great shots in this trailer, in particular the scene where they are racing out in the hill country. At the very bottom of these hills, there's just one little windy road that all these cars are just holling butt on that looked pretty breathtaking. There are also some scenes for some races where it looks like you have some fiery crashes. So it looks like this movie is going to have it all. And as a kid, I always dreamed of having a Ferrari. It was the one car that I just thought was so cool. I remember one year for Christmas I got a It was probably more like a toy model car, except those really you just display those. This one you could actually play with. Or maybe I was so excited about it because it was just so cool looking that I played with it no matter what. But it was a red Ferrari, and I envisioned myself someday getting so rich that I could afford one. But now as an adult, I realize unless I went the lottery. I am never owning a Ferrari. I would just feel so uncomfortable driving it because it just seems like a waste to be inside of something that expensive. Of that somebody throwing a rock or you hitting something on the road diminishes the value. I just can't imagine driving something that expensive, But I do like watching other people drive them. So if I ever see a Ferrari out in the wild and I'm like, oh, look there goes a Ferrari, bet they spent a lot of money on oil changes. But again, the movie is called Ferrari and it's coming out this Christmas, And if I had to rink my excitement level, let's see it is a four point five out of five. I think this will probably be an Oscar contender, given the caliber of the director and just looking at the cast of this movie. If it was anything less, it would have had a much different trailer. So I am really excited for this one. And that's the trailer park. You heard it here first at That was this week's edition of Movie by Framer par and that is going to do it for another episode here of the podcast. Thank you for listening is my way of showing you my appreciation. Every single week I do a listener shout out, whether you comment on my Facebook page, you tweet me, you send me an email Moviemike d at gmail dot com, or follow me on TikTok if you're not over there. I don't only post movie content there. I also have a series going with my new hobby of collecting comics, so follow me on TikTok at Mike dstro. But this week I am going over to my Facebook page and picking one listener as my listener's shout out. This week, it goes to Colleen White, who commented on the post I made about the Disney one hundred disc collection that costs fifteen hundred dollars. Did an entire episode on it, and Colleen wrote, I can't believe you sent Bolt to the Fire. That is an awesome movie. Sad crying emoji face. I stand by that. I feel like that movie came out in an era of Disney that I'm just not a fan of. I feel like a lack of creativity and that movie just happened to be one of the best representations of Disney just having an awful run of movies. So I am sorry. But not sorry Colleen that I sent that movie to the flames. But I appreciate you listening to the podcast. Thank you for commenting on my Facebook page, because I'll take any kind of engagement I get over there, because most of the time Facebook is where I just get the meanest comments, where people don't even just comment on what I say, but just what I look like. I can't help that. I'm just as God made me, so I appreciate you limiting the hate to my opinion and not my physical appearance. So Colleen, that's why you are the listener of the week. Thank you, and thank you listening right now to this, Yes you listening in your car, listening on your airponds. You mean the world to me. I hope you have a great rest of your week and until next time, you know what to do. Go out and watch good movies and I will talk to you later.