iTunes Exclusive Episode Mistress America

The following is a sooner orgator production.
Greetings Empire member and or members.
If you are hearing the sound of a live voice currently, it means probably a couple of things.
Number one, it means at least once in your life, you know those are the clubhouse podcasts
and for that we are eternally grateful.
Your one-stop shop for all things sports entertainment, live every Sunday night, 70s from
for Pacific.
But if you're hearing my voice, it probably means you subscribe my iTunes because it's
time for another...
Number 130, from an iTunes exclusive standpoint, we've been busy.
Welcome.
My name is Robin, I am the executive producer of the Clubhouse podcast and I love
Marco.
But I'm not alone for this particular episode joining me across the desk as the official
fact checker of this show and a man that also knows Marco.
You may know him as Don Ford because I call him Don Ford but you might also call him
Fondango.
Welcome sir.
Thank you for inviting me sir.
You're always welcome here sir.
But they made me know his name is Fondango but my name is Don Ford Street did.
I do that.
I always find that weird whenever I say that because I'm the one that named your Fondango
too.
So it's...
I'm partially the blame.
Why don't you have that big push?
Yeah, wrestle me.
Whenever we do one of these, it's always to review something this episode is no ex-lusion
to that rule.
The day we are here to review the latest film directed by Noah Bombock, a guy you might
know as a director from films like Francis Ha, the writer of the Fantastic Mr. Fox.
He also directed a very highly acclaimed film called The Squid and the Whale.
His latest film which he co-wrote with his also Francis Ha co-wroteer in Star
Greta Gerwig is called Mr. America.
Before we get on this whole thing, we got to think Ashton and everybody at Merock
and Fox for some of our favorite people.
Yeah, she's such a nice lady.
Thanks for inviting us to this Ashton.
We really appreciate it.
We do appreciate it.
Very, very much.
Here's what you need to know.
Lola Kirk plays Tracy.
She is a college freshman in New York City.
Getting settled in the college life.
Once she's an aspiring writer, gets a phone call from her mom played by the great
Katherine Urbe, who you might remember from Law and Order of Criminal Intent.
Saying she's getting married.
And the marriage is going to happen over Thanksgiving.
And the guy that she's marrying has a daughter who's probably 12 years older than her.
And she wants Tracy to reach out and kind of get to know her a little bit because they're
going to be going to be in the wedding together.
Well, Tracy puts it off and Tracy puts it off.
And she finally, one night decides she's going to call her.
And they meet up and they hit it off.
Big time.
And what follows is a coming into adulthood or understanding adulthood story.
I guess you could call it.
And I'd say a good bonding session.
Yeah.
I mean, that's basically where the rest of the film is.
Exactly.
Not very long.
Less than an hour and a half.
Done.
I'm going to start with you because we were the only other person in the studio.
Yes.
What do you think of the story here?
It was a story here.
Actually, before we get to that, let's talk about Bombock.
Because Bombock is an established director.
Visually.
I thought it showed New York well for the situation.
Because, you know, she's going living in college.
You know, a little community college at the dorm and all that.
Then she finally sees what her future step sister is going to be doing.
And the life she has and getting to know her.
And she's a total opposite.
Living in a high life.
Living in, you know, time square.
Everybody knows her.
She does this and does that.
And has, you know, lives a high life.
I, the best way.
Just a different name.
Stop for us.
Yeah.
And plus, you know, all around the thing.
So you have a girl who's very simplistic and not much.
I mean, you know, being a scroll who's just an all-out thing.
And I see the message they're trying to portray on that.
I think of building the friendship.
But this is the big part.
Because you're talking about the storyline too or so forth.
Mm-hmm.
If you got my written review of WWW.
That's our website.
Okay.
There are so many times I'm thinking during this film,
especially at the beginning.
What is the point that the director's trying to get across?
Okay.
It's like really confusing.
What is the point of this movie sometimes?
I, I thought.
There have been very, there have been a lot of movies with simplistic plots.
Mm-hmm.
And even other simplistic, they become, you know, they hit it all the park.
This one, you know, hit the, this movie went at the bat.
The ball went straight up in the air.
Right below the catcher.
You know, for me.
Bombock has a great eye for New Yorker.
I mean, it's hard not to show you.
It's hard not to show you.
It's hard not to shoot New York well because of what it is.
So I don't have really any complaints visually.
Well, me neither.
None there.
My complaints come from everywhere else.
Exactly.
In this, I felt that this script, I, I just get the feeling that this script
wasn't always supposed to be a film.
My feeling is that this was supposed to be a stage play that they couldn't get the funding
for.
So they decided to make it into a low budget film, but they didn't tweak the script
to give it that film feel.
I felt like I was watching a one act play somewhere.
And I see your point, 100%.
The dialogue was very, I'll give you an example.
We're looking through a closet.
I need to find these pants.
That's so, that's so has for me.
I can't find these pants.
I'll help you find these pants.
Hey, look, I found these pants.
We're now best friends.
Like, that's how the dialogue went.
And when I'm looking at the trivia here in IMDB, apparently.
That closet scene.
They did 55 takes of that.
45 takes.
And that's what you took out of it.
Come again.
Yeah.
55.
55 times.
And it just, the whole, the whole, especially the third act.
The third act, dripped up stage presentation.
Totally.
I want to do this.
You shouldn't do this.
And now we have random secondary characters that are going to come in and do things
because we need to give them screen time.
So they're going to be here.
And they're going to deliver lines just like this.
And then I'm going to deliver another line just like that to match it.
It made my brain hurt.
Let me.
One thing, which again, I put in my written will be at the callbox podcast.com.
That's our website.
I did kind of find it interesting at some points how they had a long extended fast dialogue.
There was a couple scenes where one person talked for the next boom boom boom boom.
And you know what?
You know, real, talk, listen to what you just said.
Reason why it's so unique and everything and why I find it interesting is because that's
what it would happen in a play.
You know, I'm saying how one person talks next next next next next next next.
Right.
No, I see what you're saying.
Yeah.
And I told that your voice doesn't translate to the big screen very well.
I said, I found it interesting, you know, doing that, but I didn't say was great.
But I can see the point where they didn't tweak the script at all to go from a play to a movie.
This felt like it was like almost an hour longer than it was.
It trudged along forever.
Yeah.
I mean, you do I have to bring up the watch?
You don't even want to bring up how you look at the watch.
I looked at my watch.
I want to say about 10 minutes in for the first time going, wow.
This has only been 10 minutes.
Like when it started out, it didn't bother me.
Like I, to me, the best chemistry in the film was between low look herk and Catherine
The mother daughter thing that worked for me.
Nothing else worked for me from a chemistry standpoint.
It looked so shoehorned.
Everything did.
You know, I'm going to open a restaurant.
I want to work in your restaurant.
I'm going to open a restaurant, but I'm going to tell you.
I don't hear what you say.
And then I'm going to say something later about it.
Just do the movie.
And I don't know if maybe I'm just being too harsh because I've done the research.
Cricks are loving this film.
Yeah.
I am not one of them.
It's just this thing.
As when the credits finally rolled, I could not have been happier.
I know, because there have been so many times.
You just had that body language where I was almost ready to laugh.
Just because the, the pain you were in.
It's like, at one point I leaned over to you and I said, hey, look,
we only have an hour to go in this day.
I said, how many times have you been watching you sit five?
I needed a steel chair to hit somebody.
I really did.
Like, it just, I, because I went into this with some pretty high hopes.
I mean, this look like it was going to be a lot of fun kind of a coming of age thing.
Is it our film, is our genre?
No, it's not, but.
I may not be a target audience, but I do my best to be as objective as I can when I do one of these things.
And look how we talk about the other woman, even though that,
you know, we give it a fair shot going in.
I was just so let down by the end of this thing.
That I just, actually, I was let down by the 15 minute mark.
Yeah.
I did kind of like sheer in his role there a little bit.
Uh, playing, playing her male friend.
Yeah.
In his, in his girlfriend, I did love her.
She was so brutally honest.
In some of the, some of the lines that you share.
Yeah.
Yeah.
In the girl who played this girlfriend in the film.
Oh, my God.
Some of those, some of those comments she made.
Make a let play by Jasmine.
See if she came out from Blufffield that you did not see coming in.
And I thought that was funny.
There was some of their comedy.
I just feel I will not deny that.
There were some moments that I did chuckle.
Yeah.
But it didn't make up for it.
It didn't carry me.
No, it didn't carry me for, you know,
an hour 24 is not long.
There's Disney movies longer than this.
And I just, man.
The, the way the dialogue was written and delivered.
It's like you can't do that with a film.
In some cases, you can get away with that in theater.
But not in, and in some cases, not even big theater.
Yeah.
Off, off, off, off, off Broadway.
You could probably get away with it with a local theater company.
That's just trying to make a name for themselves.
Not on the silver screen.
Not with Fox search light.
No.
You know, this.
Oh, goodness mercy.
I did like some of the chemistry between the two leads, though.
I thought some of some of the moments I thought it really showed the
friendship in it hit fast and hit hard.
That friendship that deep.
Oh, no.
They're a friendship.
Jell with a force about freight train.
Yeah.
Which I also.
And it looked like they were having fun.
Yeah.
You know, but I just.
But so many times, I think.
What is the point that directors trying to get across here?
Yeah.
And never.
What's the point of this?
What's the point of that?
Why is.
Where's this thing going?
You know, it's like, you know, you walk into the edge of the forest.
And there's no trail.
It's like, you walk a few steps go.
Where do we go from here?
Yeah.
And instead of, you know, where's this going?
It's more.
Where's the chase and how can I cut to it?
Like, at this point, I don't care about the journey.
I need the destiny.
You think this has been better as a short film.
Much, much, much, much, much shorter with better dialogue.
Let's say a 30 minute short film.
I don't know.
You don't think that could have saved it.
I think you'd have to do a complete script, right?
Totally.
I like the story.
I like the heart of it.
But you'd have to completely rewrite this script.
Yeah.
I agree that.
I feel like they wrote this over a weekend and went.
Let's get enough.
Yeah.
And I'm staring at it.
So I get a lot of late.
I get to see that.
Yeah.
I'll go.
I get right.
Any other thing else you want to add before we final analysis this thing?
The whole boot on the whole thing here.
Alrighty.
The way we do the final analysis on this show.
We don't give you thumbs-up thumbs down.
I don't give you stars, letter grades, one to ten.
And if nothing like that.
Our audience whom we affectionately refer to as the empire is better than that.
What we do is we ask two questions.
Question number one is would you see this film again?
If the answer is no, then we're done here.
If the answer is yes, then it becomes how would you see this film?
Again, would you see it in first run?
Would you see it in a twilight show?
Would you go matinee?
Would you go early morning on a Saturday?
Would you go at second run of the dollar theater?
Would you make the effort to go to red box?
Would you stream it on Netflix?
Would you wait for it on television?
Done.
Would you see this film again?
Barely.
Barely.
Alright.
So you're on that side of the fence, but not by much.
Yeah.
How far are you willing to go?
Just.
Which I put in my written review at the callbasspark.com.
Is there a website?
Only on TV.
If nothing else is on it.
Now are you saying like HBO TV?
Or are you saying like Fox TV?
I'm saying the lowest form of TV that it's on.
And nothing else is on.
So you're not even requiring cable at this point.
No.
I would not see this film.
I cannot see myself sitting through this again.
And I actually see a point.
The only reason that I'm given that because there was some good comedy scenes in there.
I'm like, there were a lot of cheers girlfriend.
I mean, with some of those, you know, that's the only reason.
I'm not giving it the big no.
And it really kind of breaks my heart to give it this kind of a review because I wanted
to like this movie.
Yeah.
Like, I went into this, like, I'm really wanting to like this movie.
And it just disappointed me on so many levels.
Yeah.
Big bomb.
Come on.
Again, though, we got to thank you.
Regardless, we still got to think Ash in the world.
Absolutely.
Ash is so wonderful to us.
My box search list provided us to this thing.
You know, but that's what they want.
They want our own opinion.
And we appreciate them wanting this.
Absolutely.
Thank you so much, guys.
You ready to do the clubs?
Yeah.
Let's get it done.
All right.
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So until next time, for Don, for the Empire, I'm Rob.
Clubhouse is close.
You could have had bringing Palmer and like a shopping scene or something.
I'm not saying it would save the movie, but I don't want to give me some talk about
in this air.
The preceding was a sooner or later production.
Gotta go, gotta go!
Why?
Because I have to.