iTunes Exclusive Episode The Light Between Oceans

Greetings, Empire member and or members. If you are hearing the sound of my voice, it means the following conditions have probably been met. At least once in your life you've listened to the clubhouse podcast Live Every Sunday Night, 7 Eastern, 4 Pacific, your one-stop shop for all things pop culture, but it also means you subscribe on iTunes because it is time for another ride to Zix exclusive baby.

Be 233rd, one of these. My name is Rob, I am the executive producer of the Clubhouse podcast and I'm a cat that likes the ocean man. But I'm not alone for this particular episode.

Joining me across the desk as he tends to do from time to time is the official fact checker of this show and a man that recently was a lot closer to the ocean than he is right now. You may know him as fun, don, go, but his mom and name him Don Ford, I'm going to call him Don Ford, welcome sir. Ah, it's great to be back.

Have my permany brothers. Yes, you did. More than once.

The photo evidence of that. Whatever we do one of these, it is to review something this episode no exception. Today, or tonight, we don't know when you're listening.

We're not here to judge you outwardly. Is a latest film from director Derek C. and Frons.

A lot of documentaries he's done, but you might know him from the controversial Blue Valentine in 2010, also the place in the pines in 2012. His latest film is called The Light Between Oceans. The Michael Fassbender, the Alicia Vickender, who is now his latest friend.

Also Rachel Weiss, the wife of Daniel Craig, Daniel Craig not in this film. Before we start this whole thing, yes, so all three of us got the invite, but doesn't leave. Only one of you.

But on the invite, we have to thank Susan, Jenna, everybody at Susan Jacobs in such fans of this. And actually, DreamWorks did the production on this, but still distribute by Disney. So yeah, you know, I think all those people, wonderful people, thank you so much, together in this paper.

Yes, about to get it. But thanks again. We love those people there.

So here's what you need to know. Michael Fassbender and Alicia Vickender are a couple, they own a White House, and actually they take care of the White House. They take care of the White House.

They take care of the White House. They take care of the White House. And one day, when they're just, you know, being a couple, as couples do, a robot washes up upon the shore with the lifeless body of a man, but the very life body of a baby.

So they decide that they're going to take this baby in and raise it as their own, which is all went well and good until we years later go ahead, Don. Well, the thing is, is that Alicia, the character play by Alicia, is a bill. They try having children she miscarged, which has a little point plot, but then they see the baby.

There's somebody in the boat with the child who passed away a man. So the babies alive and they, well, if we call the authorities, the baby will be taken and even though they like to adopt it. And so they basically bury the gentleman that was in the boat and keep the child and say, hey, this is our child and because no one else knew about the miscarriage because they're on the island all by themselves out in the middle of timber.

Fair enough. Yeah. So then basically they go back to landlocked.

Yeah. I don't know. Okay.

Who knows. So basically then they go back to their home city in Australia, the space in Australia in the 1920s. Okay.

And when they're crossing the baby, because the grandparents are there, we got the grandchild and all that. There's a special day. There's a cemetery right by there and there's a lady who's at this grave thing, this memorial thing in the graveyard and she's like crying, he goes over there to see what the thing was.

And basically he realizes that that lady possibly was the mother of that child that they found and the wife of that person that he buried. And so now comes that question of, do, we let this bill, spill the beans and we're a big, possibly, pre-prosecuted or they do, they do, they keep the secret going. Okay.

So it gets interesting. Runs an hour and two hours and 12 minutes is the run time on this. Let's start there.

I mean, this is, and two hours and 12 minutes is kind of a stretch. It is. Did it feel that way?

Yes, I know. You knew it was long. I knew, looking at the time going in, I knew it was going to be a long film.

But lengthwise, you could tell, but it wasn't bad. It wasn't like your restless on your seats and hurry up, get over, hurry up, get over. I thought, overall, the flow was well.

They're, it didn't really drag, but basically, it's like the car on the interstate that's going 50 and a 65 zone. So it's going, it's just not going fast enough. It's not fast paced, but it's a good flow, which is why we're horned to get them out of the way.

Exactly. Fair enough. Yes.

The pot and storyline is really good, though. We keep you interested, at some point, it's kind of predictable, but like at the end in some other situations, there are some turns that you don't see coming. Okay.

And on the plot, which I put in my written video, www.theclubhousepodcast.com, that is our website. I put on there, there are a couple uncomfortable moments in this film. And it's from seeing the trailer, which I have seen the trailer.

It definitely feels like there are some moments that you get a little spirally, yes, but in a good way. Fair enough. It's like, minor spoiler and three, two, don't say the one.

Okay. Basically, they find out that she's, the word gets out. Okay.

And we'll leave it there, perfect. Yes, exactly. And then when the mother and the two ladies, the supposed mother and the mother get together and the words out, watch out, they're, they both walk into it, one's in the store, the other person walks into the store and something really gets uncomfortable.

I'm going to leave it at that, all right. Okay. But it was done well.

You're like, oh, oh, this, oh, this is getting nasty. Oh, oh, oh, do we see a car wreck coming? That kind of thing.

But it was done good. The pot really kept you going. A little slow based, maybe, they cut a cut, maybe 15 minutes out of it, possibly.

Okay. But not too much. So it is slow moving, but still good.

Cut me interested. I wasn't looking at the watch or be 10 minutes kind of thing. You might have looked at your watch, maybe 30 minutes in.

Okay. So that's, don't go anywhere. Don't go anywhere.

Okay. Fair enough. Plotline, plotline, storyline, very good, I'd say.

You've got three people that are some of the great actors of this generation, a fast vendor, Alicia Vicinder, Rachel Vice. People have thrown Academy and award together, at least with winner, if not nominee, from all three days. You know what you're going to get?

So it lives up to the power of what they've given us so far. Yeah, the chemistry between Vicinder and Fastbender, great, they're, they're that loving couple. A lot of emotional scenes, and they fed off each other, acting was really, really good.

Vice plays the lady into spare, like you can not believe. The emotional trauma that she goes through in this whole thing, she plays a part in credible. These those three, you know what you're going to get?

You got it with them acting between the whole cast, very, very good. I get to get a shout out though. All right.

Florence Clary, who plays the little girl about age five, that's her first film. It's her acting really, did incredible, did incredible on that. For five year old, there's a lot of scenes that were emotional with the child, and she was able to put it on the screen incredibly for girl that's probably four or five years old.

Very nice. Just say the least. Yeah, she gets my shout out.

Unger, you know what you're going to get, Jack Thompson. I mean, all the cast had great chemistry together, Anthony Hayes. I mean, Anthony Hayes Anthony Hayes.

It's a star-studded cast, the great Brian Brown is it's sort of a big fan of that. Yeah, I mean, Brian, so the acting, I really found no faults in the acting, but you could really feel that emotional bond between the married couple between fast-bender and Alicia on screen, incredible. Now, do I see Oscar Noms on this one, probably not, but shout outs, job well done, you know what you're going to get, they kept up to the par.

Anything else you want to talk about? Oh yeah. Oh yeah.

Oh baby. Oh yeah. The big one.

All right. Bring it, the directional look of this film, beautiful, beautiful, beautiful, beautiful. They showed first off Australia in the 1926, historically correct with the little cars and everything else, the old-style boats.

But you put ocean beaches, you put sun sets, it had some beautiful, incredible shots in this thing. Okay. They took advantage of it.

The lighthouse where it's at is an island, probably you probably say 20 miles out. It's one big island stick out in the middle, nowhere, so that's where they have a lighthouse. So they're basically suited, that's included, living by themselves on one island, you know, too.

Of course, it's 1920s. I don't think they had a radio in there, but they're, but showing the all the nature shots, they used the island, they used the coast town, they used all that stuff perfectly. He used up the nature to the tea, on this thing.

Okay. Beautiful, beautiful look, you know, it showed, sometimes even it showed the weather or the mood or the scene fit the motion of what's going on at the time. Okay.

See, it's dark out, it's rainy, it's, it's, that kind of thing. So I think, doing those little kind of subliminal things with the nature and all that really added to the emotional full of this film, I thought, real complimented very well. Okay.

So overall, not, good film, good film, so the big, but basically, anything, you know, question, do you have on this? I think you're covering it very well. I mean, I was intrigued by this film when I saw the trailer and I was kind of bummed that and get to make the screening, but again, you know, life happened these times.

Yeah. But yeah, I mean, I'm, well, I'm on the trailer, I saw the trailer and before the little, it shows the, because I'm, you know, it's, it's on the trailer. As watching that and they find the child and then they go to town and they, in the, wisest character, he realizes what's going on, I go, oh, they're going to find out, oh, it already shows in trailers.

So basically what I talked about is in a trailer, right, this, the beans are spilled, but, um, I thought the trailer really enhanced it. So there's going to be no big surprises, but a great, a couple of twists and turns, which we're good. All right.

You ready to go, go to the final analysis? Let's do it. All right, do I do the final analysis on this particular show?

We're not going to give you thumbs up, thumbs down. We're not going to give you letters, numbers, stars, emojis, whatever. Our audience whom we affectionately refer to as the Empire, they expect more.

We're going to give them more. I'm going to ask Don up to two questions. Question number one, I'm going to ask him is, would he see this film again?

If the answer is no, then we're done here. But if the answer is yes, the way we're going to actually measure that is going to be, how far he's willing to go to see it again. So from top to bottom, top rating all the way down, we start with full price and a theater.

We drop from there to twilight, to matinee, to early morning, to second run it to dollar theater, to red box, to Netflix, to TV. Don, would you see this film again? Yeah.

How far are you willing to go to see it? I would say it in recommended, something like a twilight. Okay, I will say that, um, or a matinee, it's not going to be for the teen crowd.

Oh, absolutely, of course. It's not going to be their genre. You even know a teen, no, a home watching it on HBO might kind of enjoy it, but it's not going to be the film that we'll rush to.

But let's say, for instance, you are married couple and you got the, you got the free weekend and kids aren't there and you want to see a film and go to dinner after or something like that. I think it'd be good, good, good combo for the two. Okay.

So before we end this whole thing again, we got to thank Susan, Jan, everybody. Susan Jacobs, the whole career. That's a fan of those kids.

Three works, everybody does need for, uh, helping out on this film. So they treat us so much better than they ever have to. Thank you guys so much.

It is the light between oceans directed by Derek C and France. By the time you hear this, you might be able to go see it, but the official release date. I believe is Friday, September, 2nd, correct?

Yeah, it's this coming, Friday. All right, yeah, that's it. We do the plugs.

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And Jules Wormick is probably wherever chat is right now. Our normal show every Sunday night's 70's turn for Pacific is your one-stop shop for all things pop culture. So until next time, for Don for the Empire, I'm Rob clubhouse is closed.

Brittany Palmer. He's put her anything, it's all good.