iTunes Exclusive Episode Road To The Well

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Would you?
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Welcome.
My name is Rob.
I'm the executive producer of the Clubhouse podcast and I'm a fan of the road trip.
But I'm not alone for this particular episode.
Joining me across the desk as he does from time to time is the official fact checker
of this show and a man that knows driving up the coast to where he wants to go is going
to take a bit of a time because he's nowhere close to one.
You may know him as fun, don't go, but his mom and even don't want to call him Don
Ford.
True story.
In a four day week and over Easter in college, I went from Montana to Washington to San Diego
to Vegas to Colorado to do I only through Utah all the way back within about three or
four days.
That's a lot of driving.
Yeah.
Long story.
But it happened.
True story.
Hey.
All right.
Whatever we do one of these things, it is to review something and this is no exception.
Today a little bit of a first, a little bit different.
Normally, we would tell you about a vendor who has given us the ability to screen
a film.
This is a little bit different.
We were reached out to by director John Kivak.
I hope I got that right.
So do I.
Or Kavak.
I don't know.
I'm sorry.
He'll send me an email.
I don't need either way.
But he sent me an email.
I was like, hey, man.
I was wondering if you guys would check out my film and review it for me and tell
me what you think and I was like, you know what?
Why wouldn't we?
Well, when somebody asked us to check out their project, why wouldn't we watch it?
Why wouldn't review it?
So you and I got a chance to watch a film called Road to the Well.
And we also want to think candy factory films.
Absolutely.
And of course, the director and everything like that, I mean, it shows how we're, you
know, getting the word out about us and our show that people are saying, hey, we want
to review our stuff.
And we're honored to do that.
Yeah.
Absolutely.
We don't think John and candy factory films.
Thank you so much.
So here's what you need to know because the thing about a film like this is you
really have to speak in broad terms because if you don't, you wind up falling down a
rabbit hole that it just kind of turns in on itself and then you're ruining too much
of the film.
And if it's one thing that we really, really pride ourselves on this show is we do our
review spoiler free because we want the empire to enjoy the product.
Projects that we review in the same way we did and we try to go in as cold as possible.
So you've got two main characters you're dealing with here.
We first meet Frank played by Lawrence filler, filler, oh, I can't talk today.
But Frank is played by Lawrence for he, we meet him first.
He's kind of just an everyday guy trying to make it by in his job and finds out from his
boss that he wants him to take a position upstate.
And it's, it's going to cause him to move and he has a girlfriend that he lives with
and everything and he's not sure what he wants to do.
So he's going to do a 10 his boss's birthday party that night and talk more about it and
talk to this girlfriend.
She kind of knows a little bit about it because they're all friends.
And at this birthday party, I actually on his way to this birthday party, he gets a call
from his friend Jack played by Mike Parker old friend of his just kind of shows up in
town.
Yeah, and he's like, hey, man, let's go hang out.
So he's like, oh, I got this party to go to, it's like, oh, go with you.
So they go to this party and through some unforeseen circumstances, they leave the party.
Yes, we don't want to go hang out at a bar.
And in that bar, uh, some things happen to the point where Frank winds up in this situation
where he's a witness to a murder.
A murder that could, to the naked eye, perhaps be linked back to him or he'd be a
princess that correct.
So he and Jack, formulae the plan to take the body and kind of move it to a very remote
area so that they don't have to have any questions out near a cabin owned by their buddy
Chris played by Barack Hardly.
That's about as deep as I want to go into summarizing this film because any deeper
and you really start to unravel this thing.
Well, I do want to say that the Pandora's box opens.
Oh, there we go.
Absolutely.
Yeah.
Pandora's box is one thing opens and then another another another another another you know.
This is an independent film.
Yes.
And you, you have that independent film feel to it.
But I don't say that in a negative way, if that makes any sense, I really felt like this
is the kind of film where the storytelling has to drive it over the visuals.
But I would see this story where I and itself had a feel of that movie with years
ago with Cameron Diaz, very, very bad things.
Yeah.
Okay.
At least I got that as well.
About 20 years ago that came out.
I remember it.
Yeah.
But it's one of those films that it's unlike very bad things.
It's not a dark comedy.
No.
This is a dramatic film.
Yes.
And it's also the kind of film where you have to understand there's a lot going on here.
So it's not the kind of film that you can just kind of haphazardly pay attention to.
This is not one of those films.
This is a film that has a, I wouldn't say very complex, but a fairly complex story that
it's trying to tell.
And in doing so, you really have to commit yourself.
It runs about in our 50 somewhere in that neighborhood of our 48.
So yeah.
But this is not the kind of film that's really fluff or something that somebody just
kind of puts out there because they want to get notoriety so they might get a bigger
project.
Like the director also wrote it.
Yeah.
So he really, I mean, there's also, there's a, I've always said there's a certain
level of a heightened familiarity when the writer is also the director.
And you really see that here.
Like you can tell that he's really taking his time to really tell the story.
He's not trying to rush it.
He's not trying to drag it out too far.
It just kind of moves along.
I won't say it's breakneck pace, but it just kind of moves along if that makes any sense
as well.
Well, totally totally.
And with this director, basically this is this first big, big feature film you say.
You know, so it's just kind of, you know, directorial writer debut.
You could say, you know, on a certain level, on a certain level, yeah, so, you know, he's,
he put a lot into it.
You could tell put a lot of thought into it because it's, it's not just your simple
ye who, ye who film independent film, right?
You could tell that there's a lot of twist and turns to this.
So he put a lot of thought into the writing.
Right.
And what I really liked about it is it's an indie film that's not an indie film.
And what I mean by that is a lot of times when you deal with independent film, you
get these tales told where it's like, man, I'm going to break away from the norm, bro.
And if you don't get it, whatever, like this is a film that he writes to a, that can be
palatable to a larger audience.
And it's not one of those where it's just indie film for indie films sake.
Like this is the kind of film that he wrote to, to appeal to his large of an audience
as he could.
And I could see this being made into a larger narrative film or being getting a wider
release.
Yeah.
I mean, that's one of the things.
I think that's, he's trying to get the word out.
So some of these studios will pick it up.
What I, to what I, that's something to some of these like a 24 and the Weinstein company
that, you know.
Box search light.
Somebody like that.
Yeah.
I think this might be one that, you know, you might take one to take a look at,
because there are some good parts about this film.
And what's really interesting also to this film is it is Frankenjack's story.
Yes.
There's no bones.
Parker and Fuller really carry this film well.
Yeah, it's basically two people.
There's some minor roles, you know, that just help keep things moving.
Yes.
But I would say this, like for instance, there's some braids into this film.
I mean, there's some people who have some skins in the game.
One I'm trying to figure off the top of my head is, from take, Marshall take.
You know, he had that kind of parts where it wasn't too long, but he made an impact
to the film.
Mm-hmm.
You know what I'm saying?
That one part at the end at the cabin.
You know what I'm saying?
Oh, I don't use it.
Yeah.
So I mean, he was only on the screen for about 15 minutes, I'd say.
If that.
But he still had a big impact.
So there's some minor characters, but these minor characters still had a big impact
in the role.
But basically, it's just two people.
Well, the thing was with T's character, and again, not going too far into it.
Yes.
But I really felt that his section of the film as it pertained to them almost could have
been its own film.
Yes.
Because of the way that story unfolds, which I thought was interesting, and then it's
approached too, where you didn't feel like I didn't feel like I can't assume for you.
Yes.
But I didn't feel like this needs to be its own separate film, because it's weighing
down the overall picture.
There's a couple of three different storylines in here that really could be their
own films within its own small universe.
Yes.
But he tells those stories in a way that they all work together to make the bigger picture
as the payoff happens towards the end.
Like the part with T, that could be a good 45 minute short film, easily made into a 45
short.
If not even longer.
I'm almost like a two or three film and biology almost.
But it works together really well.
He's able to blend it very, very well.
I just see that, you know, one of it, I thought maybe you like how he took the time into
it.
It could have been cut out on this personally, and also some of this, I think, got predictable
a little bit.
That would be my big complaints, but these, those are not big points, right?
But in a film like this in a story like this, but it's told, I think it's told very
well, even though it's the kind of story that we've seen.
So it's hard in this day in age to tell original stories that are completely, don't
borrow from anything else.
But I think this story does it in a way that there's a certain level of predictability
to it, but there's a couple of nice little turns and it's you that kind of put it on
its ear a little bit.
I mean, that was just, you know, it's like, if I had anything bad to say, but these
are not real bad things, these are just minor things.
You know, maybe 10 minutes cut out a little bit predictability, but still it was still incredible.
The acting was good, the two leads, they fed off each other, they had that chemistry.
And then the people, how they had the chemistry with the other minor roles in supporting
actors and actresses in this film, how they fed off each other, because you can tell
there's kind of emotion within those actors.
Like you're talking about that, the office thing we're unforeseen circumstances.
You could tell the resolution there.
Yeah, yeah, there was an issue.
And they conveyed it well.
And the part, I was really blown away, I thought the best part of the film was a take.
You want my honest opinion, it's definitely very intense and that's what we want to say.
So anything else we want to cover before we get to the final analysis on this?
It had, in a pen book, in pen it failed, but still, you know, I did like it, just a few
minor things, but you know, I think acting good, the look was good, but you could tell
it had in pen book, but still it was good.
It wasn't good.
And I would say this to the studios, age 24, whoever, think about this, watch it, you know?
It's starting to, it's made, it's round as some of the festivals around and this could
be one that, if it comes to a festival near you, keep an eye out for me.
Totally.
The way we do the final analysis on the shows, we're not going to give you thumbs up,
thumbs down, better grades, numbers, anything like that.
Our audience whom we affectionately refer to as the Empire, they want us to go deeper, we're
going to go deeper.
Basically, what we're going to do is we're going to ask two questions.
Question number one is, would you see this film again?
If the answer is no, then we're done here.
But if the answer is yes, the follow up question is, how far would you be willing to go to
see it?
Okay, so we kind of have to grade it a little bit different.
But I want us to look at it through the lenses of if this film was available to a wider
audience, because it is available on VOD, it's available on Amazon.
You can get it on iTunes now.
But let's look at this a little bit differently.
Let's start with the first question, Dawn, would you see this film again?
Yes, I would.
Okay, as would I, I found this enjoyable.
So looking at it from the curve of how it's currently available VOD, basically, would
you be willing to pay more than that to see it in a theater or where it sits now, is that
about right for you?
I think I would give it the go out and make the attempt and pay the money for Red Box
for sure.
Okay, if not, maybe that, you know, Saturday morning or second run.
Okay, somewhere within a range.
But it's worth watching.
And if you can only get it on Amazon, you know, do it.
Yeah, I think the Amazon rental is worth it.
Yes.
For me, and I'm going to rate this in a way that we've never rated before.
Okay.
The more I think about it, I would love to see this as part of a larger festival.
I think this is the perfect kind of that film festival film, like the dim where I would
like the Dallas International Film Festival, for instance, or some kind of an AFI film festival
that runs around the country where I could spend some time afterwards talking to the director,
talking to maybe some of the cast that would come and support the film to try to get the
word out.
I would be very interested to take some time and sit down with these people, or maybe
host the Q&A with them, or we would say, hey, you know, tell us about this film, because
I'm very intrigued about how the film got made, how we got to where we got to and getting
the distribution and everything, and helping it get its word out to a bigger audience.
Like you said, two in A24, or a Fox search light, or a focus films, or some of it's
a...
And to the director of the Dallas International Film Festival, always a great time.
We would love to have them on the show.
Yep.
And one day we make.
You never know.
We'd love to have them on there.
So it is worth your time.
Yeah, we have.
It is called Road to the Well.
We want to thank the director, and I'm sure we're killing his last name, and I so apologize.
His last name is spelled CVACK.
First name is John J.O.N.
And can be factory films, of course.
Cannot thank you guys enough for giving us the opportunity to see this film, and so that
we can review it for the Empire, because they can go out there and make an rent this
right now.
And we're telling you to do that, and we want to think to direct for reaching out to
us.
Absolutely.
Yeah.
So, all right, that being said, let's do the plugs.
Do it.
Visit our website, where we have written reviews for this film as well.
It is www.theclubhousepodcast.com, find out everything you need to know.
And some stuff you don't.
You can follow us on social media, our Twitter handle is at clubhouse show.
Everything else is the clubhouse podcast.
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You can follow me on social media.
Pretty much everything is yes, that Rob Irvin, that is spelled ERV-I-N.
My normal co-host for the show, who is under the weather today.
He is Chad Wormick.
You can follow him on social media at Chad N.P.G.Six9.
And I'm at Fondongo, N.K.D.
Email me at Don at clubhousepodcast.com.
Email Don for information on how we can come to a live show, or maybe you know somebody
that's got a film that you'd like us to review.
We're always open to do that as well.
You can email me if you'd like questions, comments, concerns, tell me to go
Palmsand.
I am Rob at the clubhousepodcast.com.
Chad is Chad at the clubhousepodcast.com.
Charlotte Parker is on Pinterest because we are morally obligated to say that.
And Jules Wormick, well, it's Chad's wife, so she's probably with him.
Our normal show every Sunday, night, seven Eastern, four Pacific is your one-stop shop for
all things pop culture, or keep just subscribing on your favorite podcasting app, and
you get everything including episodes like this.
So until next time, for Don for the Empire, I'm Rob.
Clubhouse is closed.
Hey, man.
You put pretty Palmer in this.
Like, you know, CGI or whatever, be cool.