Sylvester Stallone and His Friends' Films Podcast

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Hey Rocky Series Podcast, Going the Distance listeners, how's it going? This is your host Ryan.
Welcome to another crossover episode that we do with the Rocky Minute Podcast and the Slycast.
That's with Doug Greenberg and Craig Cohen respectively.
Today we are reviewing and breaking down Stop! or My Mom Will Shoot.
I hope you enjoyed the discussion that we have.
Don't forget that if you want to see us and interact with us while we record these episodes live,
subscribe to our YouTube page called the Stallone Network Podcast.
I say again that it's the Stallone Network Podcast.
And you'll see us there.
When we go live, you'll get a notification.
And we'll also announce it on Twitter and Facebook like we always do.
And also like us on Twitter, like us on Facebook so you can see our polls for the next January episode.
And you can vote to which film you want us to review.
Don't forget to give us a review on iTunes.
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Guys, give us a review on iTunes.
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just even leave us a review on Facebook.
It helps plug our show and lets family and friends of yours on your Facebook and iTunes listeners.
Give us a listen because we have a few listeners, but we can always use more.
And I always say we do this for free.
We'll never ask you guys for any money.
All we're asking for is a little bit of love, a little bit of review.
Save it for the air.
We're live.
Doug, this is your show.
You're going to run this.
You're going to be the host of this one, buddy.
All right.
Fair enough.
Yeah, that should be the rule.
Whoever wins the poll should run the show, so to speak.
Not really, but you know what I mean.
But Doug, tell us why we're here.
Tell us what brought us here today.
Oh, man.
I threw up a just a Hail Mary saying my pick for this month was stop or my mom will shoot.
Having no idea that anybody would actually vote for it.
Of course people voted for it.
Why?
Why would people vote for that?
It's a dumpster.
Because they want to see us suffer, Doug.
I don't know of anyone that's going to watch or listen to this episode and not suffer with us.
But if you're going to talk about a Stallone movie, I think next to Party at Kitty and Studs,
this is probably the most embarrassing film Stallone has done that I can think of.
Which is funny that you mention that because he chose this as his worst film and not Party at Kitty and Studs.
I did find that interesting, too.
Is he saying that because he doesn't want to talk about Party at Kitty and Studs?
Or does he really believe that Party at Kitty and Studs is a better film?
I mean, can you really count that as part of his I mean, it's a it's part of his official filmography, but he wasn't Stallone yet.
You can't really consider that a Stallone film.
If you go to his official web page, Stallonezone.com.
It's his official web page.
He lists his lists that movie as one of his official movies on his own website.
Yeah, but I mean, the box office of that film and I use the term box office loosely wasn't dependent on him being in it.
Oh, well, the box office was nothing loose in that movie.
But in fairness to Party at Kitty and Stud, movies like that are supposed to suck.
Top of my mom was shoot was every intention.
At least everybody on that film was a professional.
So they knew what they were signing up for and they were trying to make the best film they could.
All right.
Let's get down to it.
Doug, why don't you intro this movie?
What it's about and who it stars and all that good stuff.
All right.
I'm going to jump into one of my classic Rocky Man intros.
So let me get prepared here.
Okay.
We got all night, Doug.
Yeah.
Oh, yeah.
Please stand by.
Stand by.
Welcome to Three Hosts, One Cup, where we analyze the Sylvester Stallone dumpster fire.
Stop or my mom will shoot one overbearing mother at a time.
I'm one third of the Triforce of Sylvester Stallone podcasters joined by my life partners, Ryan and Craig.
Welcome, fellas.
Thank you.
Doug, that made this whole experience worth it.
That's awesome.
I love it.
I love it.
I do my best.
I can't go off the cuff like Ryan can.
Oh, I really don't.
I got to prepare the way, you know.
No, no, no.
I don't go off the cuff.
I got notes, too.
In fact, Craig might be the only one that doesn't have notes.
He never does.
No.
He's a consummate professional.
I did all my heavy research for when we covered this on Slycast, so it's all still up here.
Heavy?
Heavy?
How heavy are we talking?
Okay, so when was this film released?
1992?
Is that right?
1992.
Yep.
It was directed by a gentleman by the name of Roger Spottiswoody?
Spottiswoody, yeah.
He went on to direct one of the better Pierce Brosnan Bond movies, Tomorrow Never Dies.
Yeah.
And he also directed the Arnold Schwarzenegger clunker, The Sixth Day.
Sixth Day.
Yeah.
He did a few things.
What was the Mel Gibson, Robert Downey Jr.?
Con Air?
Not Con Air.
Got it in front of me right here.
Here's some of his directorial movies here.
The Shoot to Kill?
Oh, with Tom Berenger.
That's right.
Good job.
Air America.
That was the one.
Oh, that's the one.
So that's, now Air America is not a terrible movie, and that was, it was the film before
Stop for My Mom Will Shoot.
So he worked with the likes of Mel Gibson and Robert Downey Jr. in 1990, and then he went
on to work with Stallone and Estelle Getty in 1992.
So look at his filmography though, Ryan.
Yeah, I am.
There aren't a lot of comedies there, or there aren't a lot of intentional comedies there.
Or unintentional.
Yeah.
Was Stop for My Mom Will Shoot officially a comedy?
Was that the genre?
Yeah, you're playing a fast and loose with the term comedy here.
Let's talk about their ages here.
I want to talk about Estelle Getty.
She was 69 when this film was released.
And Stallone today is 72.
Now, Estelle Getty, as you of course know, was from The Golden Girls.
And I think it must have made her look older in The Golden Girls than she was in The Golden
Girls because...
They totally did.
Okay.
Because The Golden Girls was like mid-80s, wasn't it?
Like 10 years before this.
Yeah.
So she would have been 59 to 60s, like early 60s during The Golden Girls.
And then in this, she's 69.
If I remember correctly, she was either younger.
Or the same age as Bea Arthur, who played her daughter on The Golden Girls.
I was just going to say that.
I think they were very similar in age at the time.
Okay.
All right.
And Stallone during this film was 46.
And I've got this weird thing that I do, especially when it comes to Stallone films in general.
Because I follow this career throughout my whole life.
I'd like to pretend that the age that the actor playing, you know, his real age is the character's age in the movie.
And I know you have a bit of a window, but I don't think you can go too far to the left or right without it being obvious.
This character is not the age that he's portraying in the film.
And I think 46 in this film just barely works.
What do you think?
I think it's a little older than he should be.
Yeah.
I was thinking 39 to 42 here.
Yeah.
Yeah.
That makes more sense than 46.
46?
Yeah.
He was 46 in this film.
Ugh.
No.
And I bring that up because she mentioned when they were driving in the car.
Okay.
Okay.
Here we go.
Here we go.
We're jumping in.
Well, like we've tried to go in order before, but I think we're just going to do what we always do.
We'll talk about scenes.
We'll try to go in order.
But when it comes to you, just say it.
Because things will come up in your mind about this movie.
And I don't want you guys to lose, you know, lose the thought.
So here's the thought I had.
It's about his age.
Of course, this plays into the whole film, the way she babies him, right?
And there's that scene where the airport scene.
And he's driving.
And she's so excited to see her son drive.
What?
What?
I can't get over it.
You're driving.
I've been driving for 20 years.
Can't help it.
You'll always be my little Joey.
Oh, look at that.
You're driving.
And he's like, Mom, I've been driving for 20 years.
You know, Ryan Math, you know, he's been driving since he was 26.
So he's a late bloomer when it comes to behind the wheel.
So if you get your driver's license at 16, 17, so late 30s, right?
Okay, look, Sly does not look 36.
Let's be honest.
No.
Do we know if this movie was written for Stallone?
Do you know this?
The answer to this?
No, I don't.
It was not.
Okay.
It was actually Stallone and Arnold Schwarzenegger famously had a feud going on throughout the 80s, right?
It was like a friendly kind of thing, like the bigger box office, muscle man.
What I have here is Stallone and Schwarzenegger were competing against each other at the time.
Schwarzenegger faked interest in this movie in order to make Stallone audition for it.
And Stallone, who heard that Schwarzenegger was interested in headlining in this movie,
immediately dropped everything and contracted the producer saying that he wanted to headline.
Schwarzenegger, I've read that you guys actually hated each other for a while.
Well, we were very competitive.
Yeah, I think hate's a good word.
It is.
Come on.
Did you ever hate somebody so much you go, I got to get to the gym, I got to, you know, a musician go, oh, I hate this guy.
I'm going to blow him away next to the audition.
It's like the Rolling Stones and the Beatles.
They kept releasing great albums.
Drinking buddies?
No.
Hey, let's share a blanket this weekend at the beach.
I don't think so.
That didn't happen.
No, no, no.
They're trying to top each other.
No.
Now, I really respect this guy.
I think he's brilliant.
What he's done, what he's accomplished, he's had three different careers.
Oh, he's great.
But I wanted to strangle him.
You wanted to strangle him?
I did.
Well, I mean, yeah.
I mean, you would do Rambo and then he would do...
Commando.
Commando, yeah.
I love it.
Yeah, it was like bingo and dingo and go-go and bo-bo.
It just kept going.
It just kept going.
Bingo and dingo.
That's not, you know, you just...
I heard that he tricked you into doing the movies that didn't work for you.
There's a thing, you know, when people prey on your insecurities,
when your agent goes, you got to do this movie, you got to do this movie,
because Arnold's going to do it.
I go, really?
He goes, Arnold's going to...
I said, I don't think Arnold can do this one,
because he's playing like an American cop.
They don't have German accents.
They just don't get it.
Because I'm telling you, if you don't do this thing,
stop on my mom or shoot.
He's in.
He's in.
I go, okay, I'll do it.
Thank you, Arnold.
Oh, no, no.
I didn't have to.
That's the thing you've got to love about Schwarzenegger,
because if you remember Pumping Iron,
there's that scene where he completely psychs out Lou Ferrigno.
Oh, yeah.
And that is a total, another psych job from Schwarzenegger,
who is just brilliant when it comes to psychology,
and tricking Stallone into taking this piece of shit movie.
Now, I believe Schwarzenegger, and I believe there's probably some truth to this.
I did know this story, and I think I've known it for some years now.
But my question is, didn't Stallone read the script?
Was this like, even if Arnold tricked Sly into taking the script,
wasn't there a reading?
Didn't he go, oh, boy, I can see why Arnold turned this down?
Sorry, I don't understand why his agent didn't say,
you don't want to do this.
Or did they read the script and say, hey, we got gold here?
And we've talked sort of about the pivots that Sly's made in his careers,
especially when you're getting close to 50.
Stallone obviously lost his way many a time during his career.
And I think here it was more the opportunity of the door it would open,
as opposed to the material, because obviously he didn't really give too much of a shit about this movie,
because we know that when Stallone's invested in something, he'll deliver.
But when he's not, he'll just read the lines and phone it in and take the money and then go home.
I think, honestly, when Sly in this film, he actually showed up, funny enough.
As a performer.
Yeah.
Yeah.
But, you know, a lot of times when you get Stallone in a movie, you're also getting the Stallone,
who is a brilliant screenwriter, who, when he's engaged, will sort of, you know,
structure a great story and great character beats.
It almost didn't matter, I don't think, at the time,
because they were in such like a heated competition that,
like if Arnold did show interest in this movie and Stallone had the chance to usurp him,
it almost didn't matter what the script was.
He was going way over his head to do it.
One point, Arnold, zero, Sly in this film battle.
Yeah.
Now, this film made $71 million in 1992,
and I just quickly did the inflation for,
if had this film been released today with ticket sales, what it would have made.
$112 million worldwide.
Oh, yeah.
I'm looking at it right now.
$70.6 million worldwide.
I saw $42.2 million, but that was internationally.
It would have made $115 million approximately had it been released today
with the same amount of tickets sold.
Did you see the Rotten Tomatoes score?
Was there a score?
Eight percent.
Bless the hearts of the eight guys or whoever that said,
hey, this is fresh, man.
We got some gold here.
Siskel and Ebert reviewed the movie as they do, or as they did.
Our first film, Stop or My Mom Will Shoot, is shockingly bad.
Or let me put it this way.
If this doesn't turn out to be one of the very worst movies of the year,
it's going to be a very bad year.
Think about that.
Sylvester Stallone plays a Los Angeles cop afflicted with a visiting, nosy old bitty of a mother played by golden girl Estelle Getty.
Oh, I see you've given up shaving.
No, I shave.
Hi, Titty.
So this is little Joey, huh?
Looks a lot different in clothes.
We've got to be getting along now, Titty.
But thanks a lot for showing us the photos.
You know, you look real sexy in those diapers.
Breakfast!
Mom!
Oh, please, you don't have anything you haven't seen before.
Another would-be big moment is when Getty walks in on Stallone taking a shower.
Here's what his butt looks like.
That's entertainment.
Pitsy and I thought we'd pop into the station this afternoon.
You know, see where you work, meet a few of your friends.
Ow!
Ow!
Did you cut yourself?
No!
And then there's the comedy scene in which she buys him a present to help him catch some gun runners.
The present is, oh, you're going to love this, a gun.
You brought a machine gun off the back of a van?
I tried in the store, but they said I had to cool off.
Mom, you could go to jail for this.
Why didn't you tell me?
Because I wanted it to be a surprise.
It is!
Oh, brother, in all honesty, I was absolutely shocked when I saw Stop or My Mom Will Shoot.
Where is the humor?
Or is it supposed to be funny when Getty shoots the bad guy and then swears in exhilaration an old lady using foul language?
Do you know how tired that is?
And I really think Sylvester Stallone is breaking faith with his audience.
He's too good of a writer himself, the Rocky Pictures, not to know that this script really stuck.
It stinks.
I think you're almost being a little bit easy on it.
This is one of the worst movies I've ever seen.
Okay, I'll submit to that.
It has no funny moments.
None.
It has no interesting moments.
None.
It has no interesting characters.
Even the dialogue is done in such a way that the actors themselves seemed almost embarrassed when they were talking.
If this script had been submitted to the half-hour show, The Girl and Girls with Estelle Getty,
they would have rejected it for not being substantial enough for a 22 or 24-minute TV show.
It's nothing there.
It is one of the worst movies I've ever seen.
So here's Ebert's quote.
Ebert labeled it as one of those movies so dim-witted, so utterly lacking in even the smallest morsel of redeeming value that you stare at the screen in stunned disbelief.
It is moronic beyond comprehension.
An exercise in desperation during which even Sylvester Stallone, a repository of self-confidence, seemed to be disheartened.
Did he seem disheartened, though?
I actually think, honestly, funny enough, Sly kind of showed up to this movie.
The lines are terrible.
The story is terrible.
But Sly, in his own weird way, didn't really dial it in.
He gave about as much as a comedic performance that he kind of can give.
This guy is not Robert Downey Jr., or Mel Gibson, for that matter.
That might have been Sly just reacting, you know, being frustrated with the situation he got out of his thin.
Because most of the film, Bumowski is frustrated.
So it might have just been Stallone's real life bleeding out onto the screen.
There are certain actors that are made for comedy, right?
But there are certain actors that you can tell are not comedy actors that are trying their hand at comedy.
And that was totally Stallone.
He seems like a fish out of water in this.
I think he's a funny, jovial, easygoing guy in real life.
I don't think he's a comedic actor.
Not at all.
And I think sometimes, maybe in his career, he's confused the two.
Or he's like, hey, people laugh when I tell jokes.
Maybe I'll be funny on screen.
Ironically, his Rocky character is funny.
The jokes that Rocky gives as a character in a film that's a drama, they make me laugh out loud for real.
Why do cows wear bells?
Because their horns don't work.
Sure.
That's good stuff.
That's comedy.
Go.
But the other movie that was up for a vote this time was also Death Race 2000, which he is really funny in.
Well, there you go.
Okay.
Is it?
Well, first we got to ask the question, guys.
When was the first time you saw this film?
Maybe I saw it once, maybe on cable in the mid-90s.
Yeah.
I might have watched it for the first time for Slycast.
Oh, wow.
I watched it opening day 26 years ago.
No, you didn't.
I did.
You saw this in the movies?
Oh, yeah.
I have seen every Sylvester Stallone movie in the theater that has been theater released since 1983.
You and Mike Cunda.
Yeah.
I mean, I remember the trailer for this movie.
And I remember thinking in the 90s that this looked like shit.
Like, there was no way I was going to the movies to see this.
Look, I didn't say I was smart.
I just said I saw it in the theater.
Oh, man.
Well, I do want to take this moment, since we're talking about the theatrical experience, to give a call out to, I guess, a Twitter follower.
I don't know if he's involved in the Facebook groups or not.
But Andy.
Craig, he's in the chat right now, so give him a shout out.
Cool.
What's up, Andy?
And I got to tell you, I bagged on this movie pretty hard on Twitter when the results were still not finalized.
And Andy chimed in and sort of, you know, told a really cool story about seeing this movie with his grandmother.
And it softened me up a little bit for this movie until I sat down to watch it again.
Hey, Andy, I hope your grandmother's rested in peace.
But this movie sucks.
Andy actually said that she was the youngest.
Estelle Getty was the youngest on the Golden Girls.
Yeah, I caught that.
That's pretty crazy.
Maybe I knew that, too.
That is wild that she was the youngest.
But they give her fake gray hair, I guess, and the makeup worked.
I got fooled.
We also have Walt Murray of The Wilder Ride.
Gene Wilder, by the minute podcast, says he saw it in the theater when it came out.
So I guess it was just him and you, Ryan.
No.
You guys didn't have anything else to do in 1992?
Apparently not.
Hey, man.
I was 17 years old, single, and ready to mingle, brother.
Well, that was the last place you'd want to be.
I was going to say, you're going to go find chicks and stop where my mom will shoot?
Me and Walt cruising the streets together.
Yeah.
And Walt Murray, we're going to try to get him on the show at the end here because, give
a little tease here, Walt has an argument that Cliffhanger is worse than this movie.
We're going to let him come on live and make his case, if the connection works.
I've never added anyone to chat while we've been in broadcast.
We'll see if it works.
If not, he'll at least type it out in the chat.
So stand by Walt for that.
He's going to make his case later on at the end of the show here.
I don't know what he's going to say, but that's a bold claim.
Cliffhanger is worse than this.
Yes.
That's his claim.
Wow.
Wow.
Wow.
How's that for a tease, eh?
I do got to say that this movie starts off, and I think I said this on the Slycast, though,
but I love that little opening animation.
I think that's really cool, and I think maybe it was trying to give us an idea of the tone
and the direction this movie was going to go in, but all of that goodwill was almost immediately lost.
My note was right away, you can tell it's a comedy with the opening animation.
Can I also touch on the music?
Alan Silvestri, who is a renowned composer who did the likes of the Back to the Future score.
Oh, Doug, I see your dog.
Do you?
Yeah.
Is it?
Oh, he popped up?
Yeah.
There he is.
Yeah, you won't hear him bark.
Hey, who's the hot lady in the background there?
Yo.
She's trying to hide, so.
Oh, okay.
All right.
Nothing.
We didn't see you.
Hide behind your man.
Now, yeah.
Alan Silvestri, he's a renowned composer, and I was actually trying to notice the score throughout this movie, and it's terrible.
It's terrible.
Yeah, and the other thing, Doug, is we recently sat down for Flycast to talk Judge Dredd, which, when I finally get enough discipline to sit there and edit it, it'll be released.
Alan Silvestri did the music for that as well, and...
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I'm sorry.
I'm sorry.
I'm sorry.
This, I mean, is so different than anything Alan Silvestri has ever done.
As far as I'm concerned that, oh my God, I'm trying to throw the guy a bone.
Like, I don't want to say it's like a good thing.
That this is, this guy's making a living at the end of the day.
I mean.
Sure.
Of course.
Yeah.
All right.
I'm not going to begrudge the guy for making a, for making a dollar.
The movie starts off with a legit kind of like sting, you know?
So it has a comedic opening of the cartoon.
And then we got this like stakeout.
It's nighttime.
The stakes are high and they're looking for the bad guys.
But then the dialogue right away ruins any kind of real tension that the scene could have had.
Because, sorry, in five minutes, three times Stallone's character, which his name is Joe.
So we can refer to him as Joey throughout the rest of the film.
Joey kept saying, the bad guys are late.
The bad guys are always late.
The bad guys are late.
Can you believe it?
These goddamn bad guys are always late.
You know, it's always the same with you guys.
You show up late.
Then you start asking dumb questions.
First, these guys show up late.
Then they ask dumb questions.
Then they shoot my partner in the ass.
Is that supposed to be funny?
And is it funny to say the bad guys are late three times?
Well, isn't that the rule in comedy?
It's the ancient Roman rhetorical device.
The rule of three.
You put things in three.
It makes you sound more credible, convincing, and compelling.
Just like that.
You get the rule of three all over the place.
And it's not just something in language.
We get it in music.
We get it in design.
We get it in architecture.
There's just something about the human brain.
We love getting things in threes.
Three times.
But no.
It doesn't work here.
Yeah.
Well, the other thing about this is this was just like the stock cliché Hollywood cop opening scene.
It was like Beverly Hills cop, but on a lower budget.
Okay.
So this film made, in today's money, $112 million.
But in today's money, it would have cost about $65 million, $60 million to make.
Well, Estelle Getty was also no slouch here.
I mean, she was a hot commodity.
Oh, she was hot.
I'm amazed that she didn't make more films that capitalized on the Golden Girls.
I will say, hot take, Estelle Getty wasn't that bad.
I was going to say, it's almost like she knew what a joke this was, and she played it exactly to that.
Who else could have played this role?
Like the Where's the Beef Lady, maybe?
Stallone's mom in real life.
That actually would have been an interesting movie with Jackie Stallone.
Maybe Betty White.
I can't think of anybody.
Betty White.
Yeah.
Maybe Sharon Stallone.
That's about it.
What's her name?
I Love Lucy.
Lucille Ball?
Yeah.
Oh, well, that would have been.
But, you know, Estelle Getty, though, she actually did okay.
I actually went into the film falsely remembering or thinking that she was going to be annoying.
The movie itself is annoying.
The movie itself is not good.
But her character, it's a typical overbearing mother, and it's played like a sitcom.
It could have been worse.
She could have been worse, but she wasn't that bad.
With all the problems I have with this movie, she was not it.
No.
Some of the scenes she did, some of the dialogue she did, we'll get to.
Okay, well, let me say one scene.
Her showing the pictures to co-workers, the people on the plane.
I was a little boy by the pool.
It's Joey, only nine years old, and all those muscles.
Look, you can already see he's going to have very nice equipment.
Oh, don't be embarrassed.
I'm an old lady, but I'm still a woman.
What's the big deal about the photos?
Does anyone ever get excited?
Think of your best friend.
Think of the person that you're closest to that is not a family member.
Would you legitimately get excited about seeing their pictures when they're kids?
Like, would you get excited, crowd around a table?
Oh, look, there's Doug.
There's Doug in his diaper.
I like you guys, but if you show me pictures of you, I'd maybe be curious.
Oh, that's what you looked like when you graduated?
Cool.
Listen, it's not about that.
If my mother were to show you embarrassing pictures of me as a child, you would be all over it.
That's what the difference is.
Maybe.
Maybe.
Maybe that's the key.
Maybe, Doug, you're giving credit where credit's due.
Fair enough.
But people are crowded around this desk at work.
What is this, the chicken pocket?
No, no, no.
It looks very good in spots.
Yeah.
We told everybody it was freckles.
It's a chicken pocket.
I guess there was no internet back then, and that's how they saw photos, you know, sharing the photos in person.
And they're all getting excited.
She carried them with her in this, like, extended wallet.
He was very small for his age.
I was not small for my age.
I was average height.
I was about your height.
What's the big deal?
Yeah, right.
I bet she's got pictures.
I've got pictures.
Wait a minute.
She's got pictures.
Oh, please get rid of the pictures!
Is he adorable?
Mm-hmm.
Wait, did you see what one of the pictures was?
Yes.
Should we get to that later?
No, go ahead.
No, we're going to go.
We can go in semi-order.
But like I said, if something comes to your head, just say it.
That was the Stallone picture, his third great picture that we saw in Rocky, that he pulls off the...
This is Tully Stully when he was a baby, Adrian.
Yeah.
Yeah.
The very same.
Yeah.
And it's the same photo.
And I think that photo, and he's done this before in films where he's reused real photos from his childhood in film, which is fine.
It's just we as avid viewers of Stallone films always catch it.
I expect nothing less from Rocky fans, though.
I expect...
No, for sure.
Let's talk about that gunfight at the beginning.
It's pretty amazing.
No, it's being rains, right?
I'm telling you, man, I don't trust this dude.
Should have checked him out.
He could be a cop.
Get your hand out of there.
That was.
And I actually thought that he was going to be a bigger part in this film than he was.
He should have been.
He should have been.
Yeah.
But there's one thing that takes me out of a movie, commentary during a gunfight.
I would say for the listeners why you have a special interest in this.
Well, what, because I'm a police officer?
I've never been in a gunfight.
Okay.
God willing, I never will.
But a gunfight is one of the most stressful things like a cop can go through.
Sure.
Like unequivocally.
Like there's no argument there.
You know, he's shooting at these guys.
He says, police stop.
Police stop!
And then the guys run away and he's like, nobody listens.
Nobody listens.
No.
Oh, come on, guys.
Come back.
Yeah.
The guys hide behind this pile of cars or metal or whatever it is.
And there's a big sign hanging over them.
And he shoots this chain.
It's at night, Doug, right?
It is at night.
What kind of shot is that?
Oh, my God.
It's a million to one.
Talk about that chain shooting sequence because it comes into play later in the movie.
Yeah.
It's a chain.
A chain is like, you know, everybody knows how thin the chain is.
And he's about 25, 30, 35 yards away.
At night.
There's no way.
At night.
There's no way you're hitting a chain 15 times in a row the way he does.
It's ridiculous.
Zero percent.
Zero percent chance.
They would have been better off having him just hit the guys in the legs or the butt or something.
Yeah, and I thought that, too, is like this is, excuse the pun, over the top.
Hitting both sides of the chain, too.
Do you, Ryan, do you train firearms in the military?
Yeah, you have to.
Yeah, absolutely.
That's two of us that can understand how difficult it is to shoot.
Yeah, I just do a six-hour training and C7 training.
That's what I train in.
And, Craig, you live in Vegas, so you have to know how to shoot, too, right?
Yeah.
For protection.
I actually went, before I moved here, I vacationed here, I went to one of the various gun stores.
We did the Iraq pack.
We shot, like, five different guns.
That was the day that I gained an immense respect for weapons and what they can do.
Oh, yeah.
America.
I think I shot an M50, I want to say, Doug.
Oh, wow.
50 caliber?
Wow.
Yeah.
I think there's pictures on my Facebook if you go in and see me posing with the guns.
If one of those pictures is you, like, mid-flate as you're blown back off your feet, I would love to see that.
The bar scene after the shootout.
So, all the cops are at the classic going to the bar, Doug, just like you guys do.
After a hard day of work, you guys always go to that bar and talk about cop stories.
So, Doug, go ahead and tell us what you guys do after every time a shift ends.
Well, hold on.
First of all.
Yeah.
After a shootout, there would be no going to the bar.
There would be probably about 15 to 20 hours worth of investigations and paperwork.
There's no going to the bar directly after.
But, you know, this is the movies and it is the 90s.
So, yeah.
He's calling his mom on a pay phone.
We don't know that, though, right?
Well, okay.
We're not supposed to know it's his mom.
I mean.
Now, my question for you guys is, have you called anybody, mother included, where if it rings 50 times, you're going to stay on that line as it rings?
Even if you knew she was hearing it ring.
Eight.
Nine.
Seventy.
Jesus, Joe, she's not in.
She's in.
I know it.
But why don't you answer?
She knows it's me, Al.
She's just sitting there watching the phone ring, not answering.
I can feel it.
She's trying to grind me down.
I know it.
You're crazy, Joe.
You're out of your tiny jersey, man.
Uh, no.
That's a short answer.
Yeah.
So, is that supposed to be funny as a viewer that this is happening on screen?
Is that for comedic effect that the phone's ringing and she's just packing her luggage and not answering?
We're supposed to think as a viewer?
Oh, funny.
No, that's.
Listen, Ryan.
Listen, you have to understand 90s comedy at this point.
That's not what you're supposed to laugh at.
You're supposed to think that that's some female that he's calling that's not answering.
So, he obviously pissed somebody off.
So, it's like a misdirection.
I think you're giving it too much credit.
I really do.
I am.
Listen, I'm looking at it as a viewer of 90s comedy.
It's a misdirection.
You're supposed to think it's a female.
Well, this comes into play because the next sequence, they're at the police station and we find out that Gwen, the lieutenant.
Now, lieutenant, is he a sergeant?
Joe, is he a sergeant in this film?
That's what we learn.
Yes, a sergeant.
And that's what your rank is, right?
Yes, my rank is a sergeant.
Oh, yeah.
You and Joe have the same rank.
That's amazing.
Well, he's a detective sergeant.
I don't know.
Is that different than what you are?
Jesus.
Right.
Sorry.
I apologize.
Sorry, guys.
I'm just a –
We got a man down.
We have a man down.
Go ahead.
Go ahead, Doug.
You're saying that he's a different kind of sergeant?
No.
No.
I mean, detective sergeants are sergeants in the detective bureau and I'm a patrol sergeant where it's a different assignment.
Same rank, different assignment.
Okay.
Cool.
Okay.
That makes sense.
It's the same in the military.
We have all familiar ranks but different jobs.
Yeah.
Absolutely.
Okay.
So we find out that Gwen and Joe had a fling at some sort of vacation and they're in the office, the classic.
They're having a little romantic dispute in the office with the windows open.
Everybody is looking in.
So, Doug, I want to keep asking you questions because you're a police officer.
Do they have offices like this where the lieutenant's in the middle kind of thing and everyone can see through the glass while they're talking to people and you can see arguments or flings happen?
Does this happen in a glass office?
Does this happen in real life?
At least at your precinct?
I guess it depends on the department.
But our officers that have offices like our captain's, our lieutenants don't have offices.
But our captains have offices and they're kind of closed off to like the rest of the building.
In our place, no.
There wouldn't be an office where you can see things happen as they happen.
Okay.
All right.
Andy has to go.
Andy, talk to you later, brother.
Thanks for joining us and listen to the audio release.
I'll be in full later.
Come back to this video anytime you want.
Okay.
So the reason why I bring this up is because there is one funny line.
This is the first funny line.
There's two moments in this film and there's one moment in this film where I legitimately laughed out loud.
It was a real laughter.
I thought it was hilarious.
If you say Stallone in the diaper, I'm disconnected.
You're out.
No, that was not my legitimate LOL.
Okay.
But this first one is actually a clever line.
I think when this movie was written and we forgot to talk about the screenwriter.
There was three of them.
Three screenwriters it took to make this masterpiece.
But this is actually kind of a good line.
I liked it.
Maybe it's a sitcom type line, but I liked it.
They're fighting in the office.
Oh, come on, Gwen.
This is about the bust.
I am not talking about that fiasco you call a bust.
I am talking about you going out and getting drunk with your buddies while I sit up half the night worrying.
Gwen.
I can't believe you didn't call.
Honey, it was late.
I didn't want to wake you.
Hold this.
All right.
Hold the file and make it look like we're talking about police business.
I don't want the entire precinct knowing about us.
Gwen, the detectives, I think they know already.
She's like, we got to be more private or they're going to figure out what we're fighting about.
She goes, they're detectives.
I think they figured it out.
So I thought that was pretty good.
You know, she's trying to hide their playing in their affair.
So I thought that in and of itself was I give that a seven out of ten for a chuckle factor.
Please don't tell me that was a number one.
No.
Was there any moments that you guys legitimately laughed that you thought was legitimately funny?
Nothing.
Craig, I'll defer to you.
Craig is really silent during this.
He's like, he's already exhausted his views on this on the slide cast when they did this episode.
No, he's like legitimately mad at me.
I had a big year.
I've been getting hate mail.
Okay.
So the funniest scene in the whole movie, I actually get rewounded and watched it again.
Sorry.
Okay.
This is funny to me.
You can't contain yourself.
So, you know, during that car chase, right?
They're driving that car.
Estelle Getty's at the wheel.
And Stallone's the passenger.
Craig doesn't want to crack.
He refuses to find anything funny about this film.
Okay.
So we go through this whole big chase sequence.
You know, Estelle's at the wheel.
She's going through traffic, going crazy, whatever.
But at the end, they finally crashed into that big garbage bin.
Move down!
Be careful!
There's nothing in there.
I already looked.
The guy says, I already looked in there.
Yeah, he goes, there's nothing in there.
I already checked.
Oh, my gosh.
That was so good.
I love it when they show all those people in movies.
So the funniest woman really had nothing to do with Stallone.
This guy had one line.
This guy stole the show.
And we don't even see him.
No, we see him there.
He's standing there.
There's a guy standing there.
We don't see him after the scene.
It's a far-off shot, too.
No, I'm sitting there.
Alcoholic, ravely voice.
Yeah, there's nothing in there.
I already checked.
Craig, wasn't that funny?
I'll give that credit as a clever line, yeah.
Oh, man.
Because it's not a Stallone line.
No, Stallone did not write that line.
Okay, do you guys have anything else that was funny that you want to share?
No.
Did you know Gwen the lieutenant is Jo Beth Williams from Poltergeist fame?
Yeah, you know who she almost looked like?
I thought it was the girl from Sex and the City at first.
What's her name?
Cat?
What's her name?
You're barking up the wrong tree.
Not Kim Cattrall.
Yeah, Kim Cattrall.
She looked like her at first.
Come on, guys.
Sex and the City?
Nope.
You're on your own here.
I haven't seen an episode.
Mr. Big?
No.
So the comedy here, okay, comedy in quotes.
So she says to him, remember what I told you when we were wherever,
on that balcony in Tahiti or wherever the hell they were.
I thought they said Catalina or whatever.
Yeah.
Oh, that's California.
Oh, never mind.
All right.
So they were on a balcony in California.
Remember what I told you Sunday morning when we were sitting out on the terrace?
That you liked me to nibble all that?
Not that.
That I was the first man to ever remember.
Not that.
The other stuff.
Oh, the feeling stuff.
Right.
And he said, yeah, that you liked when I nibble on.
Not that.
That I was the first man to make.
Not that.
So.
Right.
All right.
I mean, so we're supposed to laugh at that.
No, we're supposed to laugh at the sternal bum.
Who's.
Who already checked the garbage can.
Listen, the writers legitimately wanted us to laugh at that.
It's terrible.
But I think it's to show that they've had a relationship that's gone to different places.
And they were sexual with each other.
And so it's now on the rocks because he's still crazy about her.
I guess we're supposed to have some sort of feeling that there's a real relationship here to be had.
And there's a real relationship that's on the rocks that mom fixes by the end of the show.
And that brings up an interesting question, Ryan.
Do you think that this movie needed to be a comedy?
Like, imagine reframing this, shooting it like a drama, performing it like a drama, changing the title, obviously, to not be Stop or My Mom Will Shoot.
But have it be about a guy and his relationship with his mother, which has sort of impacted his life as an adult.
They could have made a legit, decent drama out of this script.
Okay.
With all the same actors?
Okay, Craig, I'll beat you halfway, okay?
No, I get what you're saying.
But maybe not a drama, but a dramedy.
And that's a real thing.
That fine line of this.
You could revamp this.
You actually could road trips with a senior person so that junior person are always kind of funny.
So these films are out there.
The idea of the age gap difference, people meddling in people's love lives.
These are old tropes that are working in a lot of films.
That with the right cast, the right acting.
Sure, meddling mother at the police force who kind of gets in the way, but makes things work for her, you know, middle-aged son who hasn't gotten married yet.
And he's trying to get his name on the police force.
All these other things.
Sure, there's somewhere in there, there's something that could work.
It didn't happen today.
Oh, there we go.
Las Vegas.
Keep your head down, Craig.
It wouldn't be an episode, right?
If the sirens weren't going.
What is going on in that town?
Craig, why aren't you ducking?
I actually live in a pretty active section of the city.
The street I'm on is a connector, basically, to a pretty major street here.
A lot of times they're using my street to get to where they need to go.
Well, you said there's a gate or a fence or something that separates you from the ne'er-do-wells.
Yeah, but I sent you guys that text the other night when I was walking the dogs outside the gate of safety.
And there's been a Corvette parked in this lot for a little over a week now that hasn't moved.
And it's still got all its tires, which makes me feel a little safer.
That's good.
It's probably a bait car.
That was my other thought is, you know, I'm not even going to get close to it for fear that I might get baited and end up on TV.
And, you know, one of the funniest moments so far of our podcast this season was when Jay said, like, he just pictures, like, the other side of that gate that you're talking about being like the zombie apocalypse.
Or he said, in his words, the beat it music video.
Oh, Jason Haynes, we love you.
Shout out to Jason who never listens to the show.
To Jason Haynes, a friend I don't even know.
Okay.
And actually, since we're looking at comments here, Jeff Ferry on the Facebook thread commented, isn't close to Stallone's worst and isn't even probably top five worst.
So, Jeff, we're going to have to have a talk next time we get together because obviously you've got a wrong dosage of medication or you took a bump in the head or something.
So he's doing five films in his career that are worse than this film.
Yes.
Jeff Ferry has stared straight into Stallone's butthole.
All right.
So I can honestly say that he's correct.
Maybe this isn't the worst.
And you're speaking, of course, of a party of Kitty and Studs.
Yes, of course.
If you could look at Stallone's butthole and really come out of that undamaged.
Okay.
Can we talk about Stallone's butt for a second?
Well, actually, when we're talking about legitimate worst movies, I would say that I've only seen it once, in fairness, and I haven't had to watch it for Slycast yet, thankfully.
I remember my experience watching Avenging Angelo being just a brutal one.
You guys talked about it, didn't you?
Yeah.
It was reviewed on our show, on the Going the Distance podcast, Rocky Series podcast.
Yeah, it was reviewed.
I'll do my best not to put that up as my next.
No, please.
For next one.
We should just do three of the shitty movies, like Avenging Angelo, Detox, and I don't know what else.
Well, I mean, we're doing Stubborn Mom will shoot now, so we'll get that one out of the way.
Okay, so when the mom comes to the airport...
I thought we were going to talk about Stallone's butthole.
Oh, yeah.
Sorry.
Stallone's butt.
I don't know how to describe this, but there's a sequence in the film, and I took a screenshot of it.
And if any of our listeners want to see it, I'm almost hesitant to put it on Facebook, because it might be banned.
But...
It looks like a woman with her butt in the air.
So, Mom is at the apartment, cleaning his room at three in the morning, cleaning the living room above him at three in the morning.
So now we know that he looks like some sort of two-bedroom condo, which is amazing, in whatever part of the world he's...
Where did he live again?
What city?
I thought it was L.A.
Yeah.
Okay.
So that's a pretty decent pay for a cop to have a pretty nice two-bedroom condo, wouldn't you say?
Or two-story, two-story condo.
Yeah, totally.
I mean, I don't know what real estate is like in L.A., but...
If it's anything like the Pacific Northwest, it's probably ain't cheap.
And so to have a two-story condo is pretty ritzy, I would say.
She's vacuuming above him, and he flips over onto his arms, and he's wearing a shirt, but he's wearing, like, briefs, the Speedo-type briefs.
And they are tight on his butt-tocks.
And he puts his butt in the air with his head down like he's five years old, covering his ears because of the vacuum cleaning.
This shot was more gratuitous than anything filmed in The Specialist.
I have...
You want to help me out here?
Why this was filmed?
Why this was okayed?
When they looked at the dailies, they were like, yeah, Sly, that...
Those are rock-hard buttocks abs you got there.
I don't understand it.
It doesn't even work for a comedy.
No.
It's creepy.
If you're doing a comedy, you can have him in some cheesy, corny pajamas or something.
I don't know.
Instead, we get him reenacting, like, the Catherine Zeta-Jones under the laser from Entrapment.
I think Sly's got a tighter butt from Catherine.
He might be a bottom.
That's all I can...
That's all I can...
No, it's...
He did say...
He did say, oh, make it stop.
It's almost like he has no other opportunity in this movie to show off any part of his body.
He's going to use this to...
Why wouldn't he wear boxers and then have his shirt off?
Now, fast forward a few minutes later in the film, he's now nude in the shower.
He's pretty nude.
They pan down.
When he's standing in the shower, of course, the mom walks in while he's showering.
Could you imagine ever, you guys, ever, at the age of 46 or whatever age you are now, I'm 43,
having a conversation with your mother in the doorway while you're naked in the shower?
Nope, nope, nope, nope.
You're like...
Nope, nope.
Breakfast!
Mom!
Oh, please, you don't have anything you haven't seen before.
Mom, would you turn around, please?
Both of you?
Cut!
Um, Pixie and I thought we'd pop into the station this afternoon, you know,
see where you work, meet a few of your friends.
Ow!
Ow!
Did you cut yourself?
No!
No!
Do you need some iodine?
No, Mom, no!
You want a Band-Aid?
No, Mom, listen, and going to the station is totally out of the question.
Absolutely unequivocally.
We'll talk about it all the break.
Mom, I won't even discuss it.
I'm serious!
My mother has been a house guest here within the last two years,
and I'm pretty sure when I took a shower, she, like, went out.
She was like, I'm going to go for a walk.
Why is Craig taking 20 minutes showers, just like when he was 12?
She went into the beaded zone?
Oh, no, no, Craig did.
Where is this episode going?
Oh, my goodness.
Anyway, so there's a sequence here where Sly is, again, naked, and you see, like, the top half of his butt cracks.
So you see, like, you see his butt.
So he's nude in this scene as they're filming.
And then when he turns to the left or whatever, you see quite far down his groin area.
I'm like, wow, they were actually going penning quite deep.
Either he's naked in the shower, which is all legit.
It's still got a good view, or...
No, he was wearing one of those, probably one of those socks.
Yeah, those, uh...
Was it a waterproof sock, or...
It's a baby sock?
It's gratuitous.
Like, he must have, like, a clause in his contract.
Like, you have to show this percentage of my body at some point in the movie.
It's...
Oh, it's bad.
It's so...
It's unfortunate.
If you shot of him, like, on all fours with his butt up in the air, it looks like a woman.
He's wearing, like, a half shirt, right?
Well, and it's like the briefs with that cut.
Like, it's...
I don't know.
Like I said, if you're making a comedy, you put them in pajamas.
Corny pajamas or something.
Or even, like, feety pajamas.
Something that...
That would make you laugh.
That would make sense for a comedy.
Damn!
So, there's that classic scene that was in the trailer.
And I remember when it was in the trailer.
And then it played out in the movie, just like it played out in the trailer.
Just hilarious.
The mother is tidying the house, tidying everything up.
And she tidies up the gun.
So, she finds the gun, Doug, in the laundry hamper.
Have you ever put your...
What do you call it?
When a gun is registered to you as a police officer?
What do you call that?
A gun?
No, no.
What's the term called?
Like a service revolver or something?
Service weapon?
Service weapon?
Yeah, but I mean, we know that it's your weapon.
This is the weapon you take home?
Do you take these home at the end of the day?
Or do you leave them at the precinct?
I leave it there.
I have weapons at home.
Okay.
Have you ever put one in a laundry hamper?
No.
No responsible gun owner would.
No, no, no.
So, she picks this thing up and takes it to the sink.
But before she takes out the laundry hamper to clean it, she points the gun at her head to look down the barrel.
I was legit like, don't do that.
A, it's not funny.
And B, if any kid sees this and doesn't even get the humor of this, just thinking this is how we inspect the gun.
She had her finger on the trigger.
Yeah.
She's pointing it right at her head.
My alarms went off.
You know, I'm not a professional like you, but I do have weapons training.
Pointing a gun, no matter if it's safe or not, or whether it's ammunition in it or not, pointing at your head for comedic effect.
This was, it was neither funny.
Yeah.
And it just, to me, I don't know.
Maybe it's just my old self now.
I'm just so, oh my God.
No, but Ryan, the one thing you did mention is, no, if a parent is showing this to their kid, there should be some serious discussions with that parent.
Right.
Pointing a gun at your head.
No, no, no.
She's showing this movie.
Oh, sorry.
I got you, Craig.
Sorry.
I'm so focused on the, you're right.
Funny joke.
I'm late to the party.
I apologize.
Can I point out one thing?
Early on, when they first walk into the apartment, did you see there's a painting on the wall?
Did you guys catch a glimpse of that?
No.
Do tell.
Oh, okay.
All right.
It's a baseball player.
The painting says Leroy Neiman on it.
Leroy Neiman?
Anyone?
Yeah.
That's their famous Rocky.
Oh, yeah.
Right, right.
Wow.
Wow.
Another Rocky crossover.
And wasn't he the announcer in Rocky IV?
He was, yeah.
Ivan Drago.
Yeah, the guy with the mustache.
Not only does Bumowski have a two-story condo, he's able to afford original Leroy Neiman.
Detectives don't make that kind of money.
I don't know.
Do they, Doug?
I'm sorry.
I was reading something.
Say that again?
Oh, no.
I was just saying, I don't think a detective in L.A. in 1992 could afford a two-bedroom condo.
And it was a big condo with that kind of original painting.
I don't know.
Maybe he can.
Maybe he can.
Maybe he can.
At the time, a lot of those cops were on the take, so maybe.
Yeah.
Joe was a clean cop.
He was definitely a clean cop.
He was too goody, too shorty.
Oh, yeah, yeah, yeah.
Walt bailed out.
Walt Murray from the Wild Rider podcast.
What's that show called?
The Wilder Ride.
Yeah.
Anyways, he bailed.
He wanted to apologize, but he has a family issue they have to deal with.
Probably some snotty kid or his wife told him to stop podcasting.
One or the other.
Yeah.
She said enough.
I know.
Both Doug and I have what I said.
What did we say in our last recording?
They've given us permission, but they haven't given their approval.
Yeah.
Yep.
Long, sticky road.
We got to talk about the scenes now.
We're getting near the hour mark, so we want to start getting to scenes that kind of made
you go, hmm.
We've talked about some already.
There was.
The jumper scene, right?
Yeah.
There's the suicide scene that's been played out in the 90s in movies all the time.
Remember, the Lethal Weapon did it best when he jumped with the guy.
That was a great sequence.
But yeah, this one.
Any thoughts on this one, Craig?
How you feel it played out?
Well, you know, they went with the, you know, it's the guy was so sympathetic to Sly's plight
or Bumowski's plight that he no longer wanted to end his life.
Hey, kid.
How you doing?
How you doing?
How you doing?
You all right?
Leave me alone.
I don't want anyone touching me.
You stay back.
I swear to God, I'm going to do it.
All I want to do is come out there and talk with you.
Don't you tell me what to do!
You sit right there.
I swear to God, I'm going to do it!
Hey, hey, hey, hey.
Hey, hey, hey, young man.
Down here.
I know I'm not your mother, but I am a mother.
Oh, no, no.
I was thinking you could talk to me if that's all right.
Officer, this is serious up here.
Hey, let her talk.
What do you want?
I just want you to know that young man next to you is my son.
And God knows me and I have had our difficulties.
Mom, stay out of this, okay?
Joe, wave to the crowd.
Mom, God damn it.
Hey, you don't swear to your mother.
Hey, butt out.
Hey.
My mother, relax.
Hey, it's your mother, so you do what she tells you to do.
What?
Now, come on.
You start waving or I'm jumping.
Start waving.
All right.
I got it.
Let me know.
Start waving or I'm jumping.
I'm waving.
See?
Mom, hi.
By the way, Joe, Joe is still sick of me.
I guess that he's a very nice boy, a little rough around the edges, but nothing that the
right girl could move out.
Officer, I've secured the megaphone.
Anyway, when Joe was a little, we were fighting all the time.
You see, he was very small for his age.
I was not small for my age.
I was average height.
I was about your height.
What's the big deal?
Yeah, right.
I bet she's got pictures.
I've got pictures.
Wait a minute.
She's got pictures.
Oh, please get rid of the pictures.
Is he adorable?
Anyway.
Jesus, and I thought I had things bad.
Not close.
Excuse me.
I think I'm ready to go in now.
Yeah, yeah.
Sorry about the inconvenience.
No problem.
This is Leslie Carr for Channel 8 News.
We've just arrived downtown at 4th and Main, where a man has gone out onto the ledge of
a building, apparently despondent about his mother.
Make her stop.
So there was a joke there.
Yeah.
Yeah.
Like, I wanted it in my life, but then I see this poor schmuck has that mother down there.
Boy, his life is rough.
I am not jumping because there's people worse off than me.
Has anyone who's ever committed suicide?
I guess we can't ask them.
Has everyone who committed or attempted, and this is kind of serious, has anyone ever stopped
because somebody else was worse off?
Usually suicidal thoughts, depression, or whatever it might be you're going through.
So this is the play out on a film.
Like, oh, I want to kill myself, but I'm not going to because somebody has an overbearing
mother.
Ha ha ha ha ha.
It plays as a joke, but really, it's not a joking matter.
And no, people that are desperate enough to do that really think that they have it as bad
as it can be, and there's no one who has it worse than them.
Craig, would you rather stand on that ledge for an hour and a half or watch this movie
again?
Oh, I'll take the ledge all day, every day, man.
I jumped off the stratosphere here, so I can handle that.
I think Craig might actually go through it than watch this again.
I'm telling you that there's no other reason for me to ever watch this movie.
It's been done on Slycast.
It's now been done on this.
Once we do a movie on this, it's retired.
We can't do it again, right?
No, this is it.
I've never watched this again.
It's getting buried in the desert.
Yeah.
With those E.T.
video games.
Should we get to the gun purchase?
Crux of the plot, right?
That sort of...
I don't think any of these listeners of this episode, if they're going to listen to this
whole thing, care about the plot.
But sure.
Yeah.
Well, the writers didn't.
No.
Ryan mentioned when mom cleans Joe's gun, she ruins it.
All right.
And so to make up for that, she goes downtown to the seediest part of town to buy him a new
gun.
Some guy talks her into buying a Mac-10 Uzi.
Here, here, here. What about one of these? You see Miami Vice, right? This is a Mac-10. All the big drug dealers love this gun.
No, I don't think that's exactly my joey. Are you kidding? That's a full automatic. You know what that means?
30 shots in two and a half seconds, you can cut down trees with that thing.
How much?
500.
Ha!
Ha!
Ha! I'll give you three sisters.
to replace the pistol that she ruined.
And she thinks that's a good idea.
But immediately after she buys that,
she sees the one guy get killed and the other guy take off in his van.
So here we go.
Act two.
Sure.
Act two takes off.
She witnesses a murder.
She's a key witness.
It plays out in the film that they're able to track down this gun wrestling group
or whatever gun dealership group.
They faked a fire to get money on the weapons.
They still have the weapons.
They're selling them illegally on the street, I guess.
It was a deal gone bad.
And she witnessed it.
And yeah, she helps him solve this crime.
Being that she was a witness,
she ends up in the police department where he works as a witness.
And that's where she's showing his coworkers the pictures and embarrassing him.
And he wants nothing to do with it.
A commenced comedy.
Craig, what are you going to say about the plot?
It's a plot, right?
It is.
I think having the mom sort of be the catalyst for the main story is a good idea.
Is it?
Though, in this movie, I would say it is.
Because, I mean, mom is the catalyst, right?
She's like the thing driving the plot, right?
Because otherwise, it would be Joe in his everyday job, in his everyday life.
So mom comes in.
She's the one that throws a wrench into Joe's everyday plan.
She's the catalyst.
She's the MacGuffin?
I don't want to say MacGuffin.
Because that's...
The movie itself is a MacGuffin.
Well, yeah.
But I mean, the overall...
Yeah.
I mean, I think you could probably call that plot a MacGuffin, really.
Because there's really no serious payoff there, right?
I mean, it ends.
But there's no real stakes ever, right?
I mean, there's no ticking clock or ticking bomb or countdown clock.
I want to push us a little bit forward to the Wrecking Ball sequence.
Hmm.
Craig?
You guys can see his face.
Okay.
The idea here is, before we get to the Wrecking Ball sequence, through a chain of events,
it doesn't really matter.
It's not important.
Joe and his mom, they go to the main bad guy's lair, quiz this guy about the racket that he's running.
And the guy says, yeah, you know, you want to go check out the warehouse where the fire happened?
Okay, we'll take you to that warehouse.
I still can't figure what it is you want.
What I want is to go down to the warehouse and take a look around for myself.
You got a problem with that?
Do you have a warrant?
Does your mother have a warrant?
No, but I'll tell you what I do have, young man.
I have a good mind to take down your pants and give you a spanking you'll never forget.
Do I go down to the warehouse or do I go get a warrant?
Yes, would you please give the detective the address of the warehouse?
The one where we have that terrible fire along with the keys and whatever else it takes to get him in there.
Thank you very much for your time, Mom.
Let's go.
For now, you can keep your pants on, Mr. Parnell.
But just remember one thing.
I'll be back.
Oh, please.
What, do I embarrass you?
Do you embarrass me?
I'll be back, please.
Where do cops say that?
Don't say that.
Where do you see that?
And so they send him to this other warehouse where it's rigged to be demolished by some literally wrecking ball crew.
Now, I'll give one thing.
You don't see enough wrecking balls in a movie.
I miss wrecking balls in movies.
We have almost like a video game sequence of a wrecking ball trying to kill Joe and his mom in this warehouse coming through the wall on the side, coming through on top, mixing it all around.
You know, they're dodging it and what have you.
And then there's one sequence where, of course, it smashes through the wall.
And Joe shoots, again, another chain.
So he shoots the chain of the wrecking ball five or six times, breaks the wrecking ball, the big cement part, lands on the ground safely, thus not being a threat anymore.
This guy can shoot like the Dickens.
Any thoughts on the wrecking ball?
Well, how thick of a chain does that have to be to hold up a wrecking ball that's got to weigh over a ton, right?
I guess thick enough to hold a lot of weight but thin enough to be shot by a bullet.
I have nothing to say.
After they get rid of the wrecking ball, we're getting, boys, we're getting there.
We're getting to what everyone saw in the trailer, what the title of the movie is.
It's coming.
It's coming.
So the wrecking ball opens up a big hole in the side of the wall.
And Stallone, or Joe, has already expended most of his rounds on that wrecking ball.
Thus, he's out of ammo.
And his mother brings a gun.
And the guy is running away.
And he's like, stop.
You know, I'm shooting you.
Stop.
He runs out.
And he keeps running.
So she comes around the corner and points her weapon down at the bad guy.
And Joe sees his mom holding the weapon, pointing it down at the fleeing person who is now no longer a threat.
And he yells out.
Enough!
Or my mom will shoot!
Psst!
Psst!
You want to just fly the line from the movie in when this is an audio version?
You don't even want to say it.
I can't!
Okay.
And the expression on Stallone's face is part acting, part this is ridiculous.
And it rightfully is so.
He goes...
Stop!
Or my mom will shoot!
It was so poor, so terrible that I actually laughed out loud.
I was so embarrassed.
I was embarrassed that I was watching this.
I was embarrassed for Stallone.
I was embarrassed for the audiences of 1992 who sat through this.
You were embarrassed for 17-year-old you.
Yes!
I wish I could have interviewed 17-year-old Ryan and said, dude, when that happened, what did you think?
I must have slunk in my chair or buried my face in the popcorn because it wasn't funny.
We knew it was coming and it wasn't funny.
Anyways, anytime they announce the title of a movie within the movie, it's always a take-you-out-of-moment.
Unless it's The Matrix, because that's what they talk about.
But it's always weird when the title of the movie is said in the movie, if that makes sense.
Yeah, we used to actually play a game when I went to the movies a lot in the late 90s, early 2000s with a buddy of mine.
We would do an over-under guess on whether they would say the title of the movie.
And then it would be under 40 minutes into the movie or over or whatever.
And each one of us would take the over-under.
And then it would make bad movies sort of fun because then you're waiting, you're watching the clock,
and then also waiting to see if they're going to say the title of the movie.
I wonder if I hadn't seen the trailer, if you would have given an honest guess that Stop or My Mom Will Shoot would have been said in this film.
What would your over-under be on this?
Would you have just guessed once?
Or would you have guessed it would happen at all?
You know, if you hadn't seen the trailer, I wonder what our guess would have been.
I would have went high.
I would have taken the over, whatever it was.
If, let's say, 40 minutes, I would have taken the over just because it seems like that's sort of a line you build towards.
Oh, they did.
And the payoff was zero.
The payoff was negative.
Stallone almost looked ashamed when he said it.
He still cashed the check.
Oh, he did.
Did he ever.
Well, again, that movie cost $45 million to make in 1992 money, which is about $65 million today.
I would assume $20 million went towards his payday.
You know, throughout the entire movie, I mean, you want to ask the question, how did Joe's mom get in possession of a gun to where he would even say, stop or my mom will shoot.
He's tried to lock her up on a few occasions where she can't interfere with his day-to-day business.
And every single time she thwarted that, she escaped from whatever gimmick he puts her in.
And there she is to ruin his day over and over and over and over and over again.
It never ends.
It's not hilarious.
Speaking of Schwarzenegger, did you catch the Arnold nod?
Yeah, the I'll be back.
For now, you can keep your pants on, Mr. Parnell.
But just remember one thing.
I'll be back.
Oh, please.
What?
Did I embarrass you?
Did you embarrass me?
I'll be back, please.
Why don't a cop say that?
Don't say that.
Terminator say that.
I'm a cop.
Somebody tells me Craig did a rewatch of this film.
Did you rewatch this film for this episode?
I did, but I was multitasking.
Okay, so the sequence, I had to rewatch it.
There's no way I could talk about this without rewatching it.
I haven't seen it in 26 years.
Now, again, much like The Specialist, there's a reason why I haven't rewatched this film in 26 years.
The memory was enough that this did not need repeat reviewing.
She says to the bad guy,
Now, she mentioned earlier in the scene that she wanted to spank him for being a bad boy.
She's obsessed with taking people's clothes off or having to see adult men's clothes off.
So she goes, keep your pants on for now, but just remember one thing.
I'll be back.
That did remind me of the discussion we were just having.
Reminded me of what I thought was a genuinely funny moment in this movie, and it's the frying pan gag.
Where she hits the big heavy guy with the beard with the frying pan.
Not once.
And then they let him go, and he goes to get his keys, and I guess, you know, he's gonna go do something bad.
And then he gets the frying pan again.
Now, was he off to do something bad, or was he just getting his stuff and going home?
He was fleeing. He was leaving the country.
Oh, is that what, yeah.
Back to the I'll be back, because there's some dialogue that happened after.
Did you catch the dialogue?
When he says, oh, you have to say that, I'll be back.
And then she goes, don't cops say that?
And then he goes, no, Terminators do.
That's a little meta kind of mind screw right there.
Now, when did this come out?
Was this a summer movie?
This is 1992, and Terminator 2 was 1991, wasn't it?
It was, 91.
Yeah, it was 91.
Yeah, because I remember, I'm a huge Guns N' Roses fan, and Use Your Illusions 1 and 2 came out in 91.
It did?
Yeah, in this essay, yeah, it did.
There was the song You Could Be Mine was used for Terminator 2.
So that was, yeah, so Terminator 2 had already done its huge box office success a year before this film.
So very much in the ethos of the writers and Stallone, of course.
So for her to say that.
But he does help me back in the first Terminator.
Yes, he does, at the cop station.
Yeah.
Yeah.
Yeah, that was from 84.
Yeah, so he says it once, and he says it in both movies, and he says it again in part three.
Then he said, okay, it doesn't matter.
All right.
Yeah.
It doesn't have a release date.
It doesn't?
None.
IMDb, it doesn't.
Okay, I can go back here.
It was released February 21st, 1992.
That is always a hot weekend, February weekend.
So odds are, T2, when they were filming that, probably wasn't out yet, because T2 came out July 4th weekend, 1991.
Want to hear a crazy thing? Audience polled the CinemaScore audience, I guess at the time.
They gave the film an average of a B-plus to an A-plus.
What movie?
Stop or my mum will shoot.
Get the f*** out of here.
Yeah.
No way.
Yeah.
CinemaScore.com.
Usually they ask people to rank the movie just after they've watched it.
You know what?
If they had asked me, I probably would have been like, yeah, it's kind of funny.
And I would have given it a B.
We're losing Craig.
Okay, so Craig's asleep.
I think Craig's asleep.
He might be.
Nope.
He's sleeping.
Or is it frozen?
It might be the camera frozen.
He's sleeping.
Oh, no, he's gone.
He can't take some more.
He left.
We thought Craig fell asleep.
I don't blame him.
I don't blame him.
My internet decided it had enough and said you need to do it out in time.
I do have a list of the rules that Joe gave his mum.
So they reached a point in the film, of course, that we knew this was coming when Joe would just have enough of his meddling mother.
And he made a list of rules.
Now, the original list had nine rules because two rules were added on the fly.
Okay?
He went to his mom.
I love how he made a list of nine, but it ended up being 11.
Here we go.
He goes to his mom.
Hey, I've got some rules for you.
He had a piece of paper just like this.
I know this is hard for you because you can't help yourself, but if you want to stay here, I've drawn up a list of rules.
I don't like the tone of your voice, young man.
Rule number one.
Never say you don't like the tone of my voice, young man.
That was rule number one.
Rule two.
Number two.
You've written down a list of rules for your mother?
Exactly, and don't interrupt on here.
Number two.
You cannot interfere with my love life ever at all.
What?
She didn't like the flowers?
Oh, yeah.
They were a big hit.
Rule number three.
Three.
Don't clean my house.
Rule number four.
Four.
Don't iron my underwear.
I actually had a friend whose wife did iron his underwear.
It's a lucky man.
Yeah.
Terrible.
The bad thing was he's still wearing it at the time.
Just joking.
See, there's some humor there, right?
Rule number four.
Thanks.
Shut up.
Rule number five.
Five.
All the little embarrassing things that happened to me when I was a kid, you can never tell a living soul.
Now, just a minute, Joe.
No, no, no.
This is non-negotiable.
Not a living soul.
Rule number six.
Six.
You don't clean guns.
You don't buy guns.
You don't shoot guns.
Make sense.
Rule number seven.
Seven.
Here's a public safety message.
No driving.
Rule number eight.
Eight.
Never say breakfast is the most important meal of the day.
Number nine.
And nine.
The photo albums, they stay in Jersey.
Anything else?
There's Jersey again.
What's Stallone in Jersey, eh?
It's weird.
I think every movie we've covered has been a Jersey reference.
It's crazy.
Rule number 10.
Yeah, for Doug Jersey.
Rule number 10.
And Craig.
Oh, you're from Jersey?
Jersey?
I lived in Jersey for 25 years.
Oh, my apologies.
Mazel tov.
Rule number 10.
Just 10.
Sometimes.
Just sometimes.
Forget I'm your son.
Treat me like a human being.
Well, you can't treat me like this, Joey.
Oh, yes, I can.
Here's the list, Mom.
Now you think about it.
And lastly, rule number 11.
This one was on the fly, like rule number one.
Because I'm going to tell you what your problem is.
Rule number 11.
Never start out any lecture with, I know what your problem is, because I do know what my problem is, Ma.
Okay.
Moving on.
This is insane.
This was written for the screen.
And he delivered them.
And he delivered these.
And she's listening.
And I'm like, all he does is send her to the airport.
And then she comes back and saves the day at the end of the film.
She shoots the bad guy.
She saves his life.
Saves his marriage.
Or his relationship where he eventually gets engaged.
She does it all.
But how much of that is screwed up because of her?
Well, yes.
Because he shouldn't be sure.
There wouldn't have been a relationship that he's saving.
Because he wouldn't have been trying to call his mom.
So she creates all these problems that she fixes.
She's like the cat in the hat.
In the end, he seemed to have all of that under control until she shows up.
They take her hostage.
But in the end, somehow, she has a...
How does she find out where to go?
She has a goddamn dirty Harry pistol that she pulls out.
What would the kickback win on that for that little lady?
That would put her on her ass.
Yeah.
Because she's holding it like this in front of her face, right?
And the kickback, it would have...
She did not have the strength or she was not holding the proper position where she...
That would have kicked back to right in the forehead.
Knocked her down.
Just like you said, Doug.
Knocked her down and broke her orbital.
What are the rules for a civilian to shoot another civilian in that situation?
Are we in Florida?
Yeah.
Well, actually, let's reverse back to the first.
Remember the scene?
Remember that classic scene, guys?
I have to remind you, stop her by mumble and shoot.
Remember that classic scene?
Mm-hmm.
So she's shooting at this guy as he's running away.
My question to you, Doug, you're a law enforcement officer.
If she had clipped him and hit him while he was running away as a civilian, what would the charges have been on her?
Oh, my God.
Like, it depends if the pistol's registered and to who.
I think it was...
Yeah, it was from his glove box.
So, I mean, we can assume it's registered to him.
So he gives her permission to use it.
Oh, my God.
There's so many levels.
There's no way.
There's no way that this is a good shoot.
Anytime she pulls the trigger, there's no way that it's justified.
None.
Zero.
If you saw your mum, Doug, pointing the gun at a fleeing suspect, would you yell out, stop?
No.
Doug, what scenario would you ever...
It's mum, put down the gun.
Put down the gun.
Put down the gun, mum.
Put it down.
I just don't get it.
I don't get how he, as a detective in a police force, could allow his mum to shoot a weapon at a civilian right away.
The first two-thirds of the movie, like, mum was interfering in his life and he couldn't stand her being around, right?
Then all of a sudden they have this moment where he starts accepting her and he's like, you know, okay, so maybe everything that you have done was in my best interest.
And then she starts interfering again and, like, now all of a sudden they're on the same team and she goes from this, like, lovely old lady to now she's Robocop.
Right.
Like, carrying a giant pistol and using it against bad guys.
I mean, look, granted, you would do anything you can to save your own child.
Sure.
And he was about to get murdered in that last scene before she pulled out, you know, the dirty Harry.
But, I mean, come on.
If you're bringing your mum to a shootout, stop.
There was one scene that was actually kind of brutal in its own weird way.
It was when the guy got chucked out the window.
Oh, yeah, yeah.
Because I'm thinking of the after effect.
This body fell about four to seven.
I actually went back and I timed the length of fall.
It was a good fall and he would have splattered on that pavement.
So, there's people in the bottom.
To see this body, again, Doug, speaking as a police officer, how much of a suspect would the guy's five stories up?
be seeing a dead body out that window.
They must have figured out how.
Like, I love that they could just casually throw a body out a window and go about their day.
Like, the cops won't be coming.
Very shortly knocking on the door saying, hey, there's a dead person outside your window.
Like, from five stories up.
We're just knocking on every door that lives five stories up here.
Well, according to the main bad guy, they all wrote suicide notes, right?
Hey, boss.
What's happening?
Oh, there you are.
Take a look at this note, will you?
I'm very sorry about my life and crime.
I cannot live with myself anymore, Jay Parnell.
Well, what do you think?
Well, I think you've been under a tremendous amount of pressure lately.
You know, I think you may be overreacting a little.
I mean, we've got the weapons.
We're going to South America tomorrow and clearing a lot of money.
I mean, why are you so depressed?
I'm not actually going to kill myself.
It's part of the plan.
They read the note, we disappear.
And then they don't come looking for us.
Come on, that's a good idea.
No, no, no.
That's a great idea.
There's one here for you, too.
You sign that and we can get out of here.
Oh, did they?
Yeah, wasn't that?
That was part of the thing.
Like, the main guy, Parnell, whatever.
Is that what he was signing?
Yeah, he was saying he read this suicide note that he said,
we make it look like we killed ourselves and they're not going to come looking for us.
I pulled a Craig.
I faded out that I was doing research during that scene.
So, when the bad guys were on the screen.
Yeah, so shame on me for paying attention.
No, good for you.
No, you pulled.
That's great.
So, that's why.
They had a suicide note, right?
Okay.
I said it, correct?
Yeah, he wrote suicide notes and they were going to skip town thinking that, like, if they think we killed ourselves, then, you know, they're not going to come looking for us.
The dopey, you know, the guy who was in Jurassic Park, he was like, oh, yeah, yeah, yeah.
Oh, what's that out the window?
And they threw him out the window.
Okay.
There are a couple of things I want to talk about at the very end here.
We lost Craig.
We lost Craig.
Well, Craig is just, poor guy has suffered through two podcasts talking about this movie.
Oh, yeah, right here.
When they come back from the airport where they've made amends, they're going to their room, to their apartment.
Joe says, Mom, I swear, this is going to be the best weekend we ever spent together.
There is not a scenario or situation in the world where I'd ever have something to compare one weekend to the next with my mother, let alone where it's just me and her walking up the stairs.
I'm like, Mom, we're going to spend the best weekend together.
It's not only creepy.
It's weird.
Like, I love my mom.
She's listening to this podcast.
I love my dad.
I love all my family.
But I can't even think of the best weekend I've had with my own wife, let alone your mother.
Like, how exciting is it to be with your mother where you're going to have the best weekend?
Thoughts, guys?
Your mothers, do you have best weekends with them?
No.
I have lots of fond memories of my mom.
But yeah, no.
Do you rate the weekends where you could say this would be the best?
Do you have the top five weekends spent with your mom?
I'll have to get back to you.
Next episode?
Okay.
Top five months from all of us?
Okay, so now the end sequence, the big climatic sequence is they're chasing down the plane.
Did anyone catch the mixing of over the top and the rig?
Yes.
Okay, so Stallone is driving another rig.
Seven years previous, he did an over the top.
So he's now doing it again.
Very similar to the dump that he drove in over the top.
Absolutely.
So he's driving the over top rig.
And did you notice how he played chicken with the plane, much like he did with the tank in Rambo part three?
Mm-hmm.
Okay, so it was a tank versus helicopter.
He was in the tank.
And this one is rig versus plane.
Now, I'm not a, what do you call it, a physics major.
I would have taken my chances, staying in the rig and knocking out the wheels of that plane.
I think the impact on the rig would have been less than the plane.
What do you guys think?
Like, in fact, what I would have done, again, I'm not a stunt driver either.
I would have gotten as close as I can to the plane, swerved the rig to the right, and it had the plane hit the rig broadside.
But what kind of velocity is the plane traveling at?
I mean, it's a lot of risk.
And there's got to be a lot of weight associated with that.
I told you I'm not a physics major.
I mean, a plane's landing on it, so.
The other sequence was actually not bad.
I will say this.
One sequence wasn't bad.
It was when the blades of the plane were going through the rig front.
That actually looked okay.
That was a decent 1992 action sequence of the blades cutting through the rig.
Well, it's an action movie director.
There you go.
Good call.
So that was actually legit.
Like, if you were to, like, go back in 1992, they were to show you the daily of that plane versus rig sequence.
Just that daily.
And that's all they showed you.
And they said, this is the next action buddy comedy with Stallone and his mom.
And here is one of the action sequences.
You would have been like, oh, we might actually have something here.
This is a pretty decent little action sequence.
Keep in mind, it's 1992.
But that's all we get here, folks.
That's it.
This is a Stallone vehicle.
I know it's a comedy.
But the Lethal Weapons perfected the formula.
All four of them perfected.
I love all four movies of Lethal Weapons.
They perfected the formula of comedy, buddy relationship comedy.
Even people who are at odds with each other.
So you've got the odd couple comedy.
You've got the action.
And you've got a story to tell.
They perfected it.
Stop or my mom will shoot.
Destroyed it.
You know, if you look at the description of the movie on Wikipedia, it says it's a buddy cop comedy.
But who's the buddy cop?
Joe and his mother?
I guess if you're filing this away in a blockbuster, you put it in the buddy cop section.
Yeah.
Is 48 Hours, that's a buddy cop movie, right?
Even though Eddie Murphy's not a cop?
Heck yeah, it is.
And they nail it.
48 Hours nails it.
Yeah.
So guys, I'm at the end.
I'm done.
I'm the jumper on the roof right now.
I'm ready to throw myself down and land on Estelle Getty's face.
So...
I gotta say that this ended up being a lot less painful than I thought it would.
And anytime I'm sitting down chatting with you guys, it's always a good time.
We ultimately won.
Yes.
There are no losers in this.
Listen, I would have to extend my apologies because I threw this out there as kind of a joke submission.
And lo and behold, here we are.
Hey guys, let's make a pact.
When we're preparing movies for next month, we all submit a movie we genuinely like and can defend.
All right.
All right.
Fair enough.
Actually, I have one on my head, so fair enough.
Okay.
I wish Walt could have been here at the end of the show.
Whatever came up, I apologize because we're going to have a discussion with him at this point where he was going to tell us how he figures Cliffhanger is a comparably, if not worse film than Stopper Mumble shoot.
If you guys want to harass him online, his full name is Walt Murray.
He's one of the hosts of The Wilder Ride.
That's right.
He's got a Green Bay Packers symbol on his Facebook.
So look for the Walt Murray on Facebook and say, dude, come on.
Stopper, my mumble cliffhanger.
All right.
So, okay.
Well, let's close up the show with telling who we are.
I'm Ryan.
I am one of the hosts, along with my brother, of the Rocky series podcast, Going the Distance.
We're pretty much a weekly show.
We're on season four, covering Rocky IV at the moment.
We've got interviews.
We've got movie breakdown, you name it, of Rocky and Stallone.
And this show will be on that feed as well because, yeah, it belongs there too.
So, again, I love you guys.
And thanks for doing this.
And plug yourselves too, please.
I don't want to plug you.
Plug yourself.
Go ahead, Doug.
All right.
I'm one of the hosts of Rocky Minute.
We're a daily podcast.
We release five days a week.
We're covering the movie Rocky II currently one minute at a time.
You can find us at Rocky Minute on all your podcasts, any podcaster that you have.
We also have a Facebook listeners group, Mighty Mix, where really most of our action occurs.
So come join the fun over there.
And I'm part of Slycast, the Sylvester Stallone fan podcast.
And unlike Doug, who's putting out an episode every day, we put out an episode maybe three times a year.
And what we're doing is we're going through Stallone's filmography film by film and having thoughtful discussions about them.
And actually, possibly before you get the audio feed of this, you'll find Judge Dredd in your Slycast feed, which is our next film.
And we had a great discussion with Jeff Ferry and my buddy, Captain Marvelous, who, ironically enough, was part of the Slycast Stop Her My Mom Will Shoot episode.
Oh, look at that.
Yeah.
And then we also have Mike Cundis' thoughts on Judge Dredd at the end.
So that episode, like I said, should be out soon.
That's a movie that a lot of our listeners were looking forward to us getting to.
Myself included.
If you're listening to this live, just I'll have you know that Craig is our guest in the next full week of episodes starting on Monday.
So five days of me, my partner Jay and Craig.
And pancake talk, I'd imagine.
Among other things.
I look forward to it because I say it every time, but I'll say it again in case there's a new listener to this episode.
I am a personal fan of the Rocky Minute and Slycast.
I've listened to every single episode they've ever released.
So I'm a legitimate fan of you guys.
You guys do a great job.
I hope our listeners enjoy this episode.
Oh, and I want to say it does work.
So I got an email, Doug, from a listener of my show who said because of our show, they've gone over to start to listen to your show from the beginning.
So crossovers do happen and yeah, so I can't say it enough that if you're listening to my podcast right now and your earbuds on iTunes, go check out Rocky Minute.
Go check out Slycast.
They're found on iTunes.
Whatever app you're listening to this show on, you'll find them as well.
And I can't say enough good things about these guys.
So there you go.
Awesome.
Thank you, Ryan.
Right back at you.
All right, guys.
I'm going to stop the broadcast.
See you.
Cheers.
So Walter wasn't able to talk to us live, so don't send him any hate mail just yet because he did send me a voice recording of his thoughts on Cliffhanger versus Stopper, My Mobile Shoot.
So without further ado, here's Walter on that.
And again, don't send him any hate mail.
Thanks, Ryan.
I appreciate you guys having me on for a couple minutes and letting me share my thoughts on a little bit on Stallone and a little bit on these two movies.
When y'all posted today that you were going to have this opportunity for us to listen to y'all talk about Stopper, My Mobile Shoot and what your thoughts were on it,
I, of course, had to jump in with my two cents and let you know that my least favorite Stallone movie is Cliffhanger and definitely over Stopper, My Mobile Shoot.
And the reason that I feel that way is that Stopper, My Mobile Shoot was originally written and put out as an action comedy and kind of a family movie.
And Cliffhanger was put out as an action adventure movie.
And I don't think that it really accomplished what it was going after.
In Cliffhanger, I never really felt drawn to the characters that much.
I never felt like I was on the edge of my seat waiting to see what happened.
I thought it was very predictable.
The characters were even cliche for a Stallone movie.
And at least in Stopper, My Mobile Shoot, there were some comedy elements and some good family elements to it, I guess.
Stallone is Stallone in both of them.
He has two very different parts, obviously.
But I actually like him in both of them.
I like both movies, but I think that Cliffhanger is one of his weaker ones.
And I wish the acting had been a little bit stronger.
I wish it had been a little bit better written.
But I think that they never really accomplished what they were going for.
I also kind of felt like at the time that they were just trying to capitalize on Stallone's growing power and force as an action adventure actor.
And I just don't think that they reached the level of some of the other movies that came out around that time.
So those are my two cents.
Of course, I've been a big Stallone fan since the beginning.
I saw Rocky the second week it was out.
My parents saw it the first week and took us the second week.
And have been a big fan ever since.
And I just thought that this didn't really live up.
A cliffhanger didn't really live up to Stallone and what he was trying to put out at that time.
I don't think Stopper, My Mobile Shoot did either.
But at least it accomplished Checking the Box on comedy.
If you want to hear a little bit more from me and my podcasting partner, Alan Sanders,
We host a podcast called The Wilder Ride where we're looking at the works of Gene Wilder.
Last year we went through 106 episodes going minute by minute through Young Frankenstein,
which of course is a Gene Wilder comedy classic from the 70s.
And next year we'll start in probably February releasing some of our episodes on Blazing Saddles,
which of course is another great Gene Wilder.
We've also done a special on Poltergeist recently,
and we're wrapping up Christmas Vacation.
And on January 1st we'll release our exclusive interview with Beverly D'Angelo
on her experiences doing the vacation movies and some other things.
You can find us over at www.thewilderride.com
or on Facebook at facebook.com slash thewilderride
and then ask to join our listeners group and you can get in and hang out with us there
and catch up on what we're doing.
So again, guys, thank you very much.
I really appreciate the opportunity and I hope to hear more from you all in the future
on some of the other great Stallone films.
- Bye.