Hello everyone, Kirk Hamilton here.
We are off this week and we'll have a new episode for you next week, but no new episode
this week because we're taking a little break.
And instead of running a new episode, we thought that we would share one of the many bonus
episodes that we recorded last year for Maximum Fun Members.
This is an episode from last fall.
I think from last September that we recorded about the extremely strange and extremely enjoyable
we thought anyways, 1993 Super Mario Bros. movie.
This was kind of in light of there being a new Mario movie which none of us had seen
at the time.
Of course now the new Mario Bros. movie is out.
It is a very successful film that I'm guessing a lot of you have seen and you can now travel
back in time to last fall to a time when none of us had seen the new Mario movie and the
only Mario movie that existed was the bizarre and bizarrely enjoyable 1993 one.
So that's what this is, just as a reminder, if you like this bonus episode, if you want
to hear a whole bunch more of them, like I don't know more than 30 that we've recorded
since we started making the show, become a member at MaximumFun.org slash join.
We really appreciate everyone who's become a member because you support the show.
You're entirely responsible for the show existing and you make it possible for us to keep
making it.
So yeah, MaximumFun.org slash join.
Thanks so much to all of our members and we will see you all next week when we're back
with our regularly scheduled weekly episodes.
All right, take it away, past triple click hosts.
I'm Kirk Hamilton.
I'm Maddie Myers.
And I'm Jason Shire.
And hello.
Welcome to another bonus episode from Triple Click.
Welcome.
Welcome.
Thank you for listening and becoming a MaximumFun member so you can listen to this fine,
fine bonus episode.
We're going to talk about the weirdest movie by the five fun.
I think Weirdest is a great way to describe it.
This is a notorious bad movie.
We are talking about the Super Mario Brothers movie from 1993 and I will say preliminarily
as part of the introduction, I love this movie, like kind of earnestly.
I think there are some really cool ideas in this movie.
I don't think they're executed well.
However, I have watched the movie multiple times.
I do laugh at the jokes pretty much every time I watch it.
I'm kind of sad about the way that it shook out.
And I feel like there was definitely a good version of this movie that isn't the one
we got, but talking about it and looking at it is really fascinating, especially in
light of the upcoming Chris Pratt Mario, where people are already asking questions like,
how does he get from Brooklyn, New York to the mushroom kingdom, which is a question
that Super Mario Brothers 1993 also had to come up with an answer for.
They sure took a swing in answering their questions to be fair.
It's not the mushroom.
It's not the mushroom kingdom, it's Dino Hatton.
It's Dino Hatton.
It is Dino Hatton.
Can I start off by reading a, please, a quote, this is Bob Hoskins who plays Mario in
this movie.
In 2007, Bob Hoskins said, the worst thing I ever did, Super Mario Brothers, it was a
fucking nightmare.
The whole experience was a nightmare and a husband and wife team directing whose arrogance had
been mistaken for talent.
There's so many weeks, their own agent told them to get off the set, fucking nightmare,
fucking idiots.
You didn't read that in a British accent, Jason.
I can't do that.
I can't do that.
I can't do that.
Yeah, British accent.
Yeah, British accent.
Um, considering reading that quote and then seeing his actual performance in the movie
is so funny because he really puts us all into that accent, into the performance.
Oh, man, I don't even know where to start with this movie.
I don't have anything to say.
It's one of the weirdest things I've ever seen.
When did you first see this movie?
Do you remember seeing it as a kid?
Because you only courage had at least seen it before.
The only thing I remembered was the Goomba face, which was just kind of burned into my memory.
But other than that, I have no recollection.
Although one thing, one thought that I had, one takeaway I had from this movie was, I feel
like a whole generation of boys in the 90s were brought up to think that like being
awkward to women is how you convince them to date you, because this, among many other
90s movies, a man being super awkward to a woman and a woman somehow falling for it.
And it turns out in the real world, like, that's often part of it, like stammering, like
not being able to find any words.
And it always works in the movies, but it doesn't really work so much in person.
If you look like John Leggizama, then maybe it works, but yeah, he's very endearing.
And I feel like this is one of those things where it's like chemistry makes all the difference.
Like, I do feel like the John Leggizama and Samantha Mathis as daisy chemistry is the only
thing that sells that these two people would be attracted to each other.
And the script doesn't sell it, and nothing about their circumstances sells it.
But they're very cute together in a way that's ineffable.
But yeah, it's, I mean, also Mario kind of does the job for Luigi in this movie.
He does.
He's like the parent setting up a play date between two kids.
He's basically like, you two are going on a date.
I can't do the acting.
Mario who is not only Luigi's adopted brother in this movie, but also his adopted father
in this movie.
And mother, which is how Luigi describes this extremely strange, and Luigi has taken
the last name Mario as a result of this.
They're just, I just have left with so many questions about everything.
I don't really remember much of it as a kid, other than that toad face.
And I remember Dennis Hopper as Koopa, because he just his, bless his heart.
He's just putting the dearly departed late, Dennis Hopper is just putting his all into
it.
And my other fun memory of Dennis Hopper is, he's the villain in season one of 24, where
he plays like this vaguely Eastern European, like terrorist mastermind.
And it's also just so, so funny and so like, wow, Dennis Hopper just really, he just
put his all into every performance.
It's funny to imagine that he was actually King Koopa from Dino Hatton in 24.
That's what I'm going to choose.
That is.
Yes.
And Jack Bauer had to enlist the help of Mario to that to break a few legs and also fix
a few pipes.
Um, so Kirk, this was your first time watching the movie.
What did you think about it?
This is a very weird movie is what I think about it.
I, to explain a little bit though of my history with it, I'm very aware of this movie despite
the fact that I never saw it.
I was 13 when this movie came out and I have vivid memories of it being bad of me being
very interested in it because I liked video games and of course there was Mario movie coming
out.
Um, I remember so clearly talking to friends about the D evolution technology and the whole
devo thing, just that that was a concept that really stuck in my mind, the idea that dinosaurs
would evolve and devolve themselves with this weapon and they could be devolved into primordial
sludge and just that whole idea and actually Jason, like you, I have that Goomba head, that
weird puppet head thing like burning into my brain, like I very much associate that with
this movie.
So it, it's of a piece with a lot of stuff from this time period.
I mean, those sorts of big set elaborate, very weird blockbusters, like hook, I guess
is one or who framed Roger Rabbit, which also features Bob Hoskins from a few years earlier,
like that.
This is kind of, it's of a piece with those sorts of movies, but it's so much stranger and
it fails to cohere so profoundly by the end that watching it was just, it's just amazing.
It's not surprising that it was very hard for us to track down a version of this to watch
only because, because it's not on streaming services, you have to buy a DVD basically
because no one wants you to see this movie, no one who's involved in it wants to even
act like it exists, even though there's a surprising amount of really a list talent involved
in making this movie.
Basically, everyone but the directors is somebody kind of great at what they do who's
gone on to have a very successful career.
And the screenwriters also are largely unknowns or at least Parker Bennett and Terry
Runt are Ed Solomon's written a few things besides this.
But yeah, Animal Jankle and Rocky Morton are the two directors who are the married
couple that Bob Hoskins so eloquently described.
And there is, I tragically haven't watched this, but I probably will after this, there's
a version of this movie that has an additional 20 minutes in it that apparently helps explain
some further plot points and it's called the Morton Jankle Cut.
And as one example of something that is in there, this character Skip Helle, who's
sort of like a mobster bit part in the movie, I'm so funny, they built them up and then
you just never appeared again except at the end when you turned it into a movie.
Yeah, I know, but apparently there was more of a mob plotline where like the mob was
trying to destroy the Mario Brothers plumbing business in some form and that was like a larger
piece of it.
And there was like more gritty underworld stuff in there.
I mean, it's hard to imagine more of it because the whole weird thing about this movie
is like, it's like a meme where it's like, well, what if the Mario Brothers happened in
real life?
That would be so fucked up.
And it's like somebody made an entire movie that's just that premise over and over where
like there's real mushrooms and like fungus, but it like looks realistic.
So they're like little tiny mushrooms, but they still have to like deliver power-ups
to the Mario Brothers somehow and like plumbing and pipes and like going through pipes and
navigating a system is also a part of the movie, but it's all quote unquote gritty and
realistic and like cyberpunky.
So like that has to somehow be of a piece with Mario.
I mean, just the idea of having Mario be live action is I think part of what really
charms me about this movie despite myself because it's like, why would you do that?
Why would you?
And the timing here, just for context, this movie was released in 1993.
So the most recent Mario game had been, the most recent main Mario game had been Super
Mario World and Yoshi is in this movie or like a little, a little cute velociraptor.
And the Super Scope features in this as well.
So the Super Nintendo was clearly at the height of its power, because they're constantly
using modified Super Scopes, which is like the good Nintendo.
Yeah, because the wizard was before Super Mario Brothers 3.
I believe that was the 89 was it something like that?
I think I would call the wizard a good movie, but it was like a current plot.
I like it.
It's fine.
I'm not going for it.
I feel like it holds up.
Okay.
Yeah, just like for some other context here, this is released the same year as the Nightmare
Before Christmas.
It was released a year before the mask, which is another kind of like weirdo, super
natural-ish movie like action movie meant for kids.
Yeah, I just don't know.
I don't know what to make it feels very 80s in a certain way.
Like the fact that it came out in 93 almost feels wrong.
Like it feels like a 1989 movie.
There's something about it.
There's a lot of tropes.
Yeah, there's a lot of 80s tropes, like the two, the two kind of like bone-headed
henchmen who are following around and like bundling.
Yeah, just like that feels very 80s and some a lot of it.
Yeah, the the birth of jumping and the kind of like special effects of that
those jump boots also felt very 80s.
I think also many way you're getting it is that like Dino Hatten itself feels like
it's straight out of the 80s, which I think is part of that feel.
So there were a whole lot of scripts for this movie and maybe we can link to some
of these past scripts in the episode description.
I don't know if we normally do that for something that we haven't done yet.
We have hit the ground running.
I think personally, let's just scribe the premise of this movie.
And then go through some of the versions of the script that are out there
because there are so many and that's so fascinating to kind of just get a sense
of how it came to be that that final version is what we ended up on.
Okay.
Okay.
Let me see if I do.
Do you want to do it, Nadi?
Okay.
It's all I mean, unless you're volunteering.
I okay.
So it starts it starts with a pixelated montage that becomes live action
describing dinosaurs when dinosaurs walked the earth and these dinosaurs evolved.
And this is the part that I don't think the monologue super explains well,
but is the case there is a parallel universe from our own, our human universe
with which we are familiar where dinosaurs went to and continued to evolve.
So like there is a meteor that, you know, maybe may or may not have killed the dinosaurs.
That's still a part of things here.
But in the Mario movie world, it also fractured the dinosaurs into this other world.
And for whatever reason, dinosaurs evolved into humanoid beings that basically just look
exactly like humans, but they're not mammals.
They are born in eggs and some of them look more like dinosaurs than others.
And we see this, this woman running through the sewers at the beginning of the movie.
She's got an egg and she's running and transporting herself from the,
the dyno world, the dyno dimension to our human world with this egg.
And she drops it off along with a little meteorite at a, uh,
convent and some nuns watch this egg open to reveal a little baby girl who is Princess Daisy
from the dinosaur dimension.
How am I doing?
Well, and of course, the way, the way you know this, you're doing good.
The way that you know this is because the woman who is her mom is playing the same
actress, the man that is the household, the same person, a little bit, a little bit confusing.
I was at least a little confused on that.
Yeah, so that's the beginning.
And let me, maybe I'll kind of just rush us through the rest of it.
Sure.
The parallel dimensions, Princess Daisy has a bit of the meteorite around her neck.
And that can allow the dimensions to remort merge basically because the meteor that hit
caused this split and King Kupa is over in the dyno world.
And he wants to get her back so that he can reunite both of the dimensions and rule
them all as the King Kupa because naturally as soon as he gets to the human world,
he'll be able to rule it with the same totalitarian hand with which he already rules.
Well, and because he's a dinosaurous Rex and that apparently makes you powerful.
So they kidnap her and then that's right after she falls in love with Luigi, then
Martin Luigi chase her into the mushroom kingdom or dyno to topple us or whatever the hell
it's called.
There's a lot of actually a lot of hijinks, then they rescue her.
There's a minute where the world's kind of merged and then they fight him and then
they win and then they go back to the real world.
And that's it.
I feel like Daisy finds her true place in the dyno world.
She doesn't stay with her in Luigi.
She stays in dinosaur lands with her father who she stays behind.
Yeah.
Until he turns back, he turns back into a human right at the very end because evolution and
devolution.
But he's not only not only is he fungus.
He somehow is fungus that is everywhere in the entire city that is like, well, okay,
I think because he is rebelling as his fungal self.
He's rebelling against King Cooper and so he's growing as fungus to like overtake the
city.
And also the mushrooms and fungus help out the Mario brothers when they get to dyno
happen.
They fight the bombs and other power ups as needed.
So that's it.
So it's literally the mushroom king who is helping helping out right?
Although I think he's called Bowser on IMDB, although I'm not sure if anyone actually
refers to him as Bowser, but I think they call him Bowser.
So it's like, okay, what?
That doesn't make sense because King Cooper is Bowser.
Wait, something about this movie doesn't make sense.
So here's a thing that I did, which is read through one of the scripts for this movie.
And there were so many different scripts for this movie that it's actually really, really
interesting.
This is something I hear about more and more.
Listen to movie podcasts, the more I learn about movies, there's always these alternate
treatments and rewrites of pretty much every major, especially blockbuster movie that
you see.
There are all these different versions and increasingly it's pretty easy to get them,
especially for older movies.
They're just around on the internet.
And here there's a website that we can link in the show notes where they have one, two,
three, four, five, six, seven, eight different rewrites of this movie.
And they're all really, some of them are really different and they're by a variety of different
people.
Screenwriting teams that are responsible for a number of them.
And as the story goes, this is also mostly going off of a collider story that kind of aggregates
a bunch of reporting about the tortured development of this movie.
So I'll say that that's my source for this.
I'm certainly no expert.
But it sounds like this was just a total disaster from the beginning, but there were times
where they had scripts that they thought were pretty good that they were going to make.
And then for whatever reason, they would drop them either in Nintendo would get involved
and say, this doesn't work for us.
At one point, I think they got Disney distributing the movie and Disney kind of got
involved.
And it does sound from a variety of people, as though Morton and Jankel were not the easiest
characters to work with.
Yeah, it's sort of funny to read this story and end up sighting with like the Nintendo's
and Disney's of the world, because like largely it's like, and then Nintendo got involved
and was like, why is every character suddenly a fire hydrant now or whatever?
It's like they fell step in when things are getting really weird and be like, we're
worried that no one will watch this.
I just want to point out that the guy's, the co-director's name is Rocky Morton, which
are both characters in the Mario series, Rocky and Morton are two different characters.
Wow.
Great point.
And Morton is one of Bowser's children, along with Iggy, who actually is in the movie.
Yes.
Just a strange coincidence there.
Food for thought.
Did Morton write this movie?
Did he direct it?
It's sort of like Nintendo's president being named Doug Balfsick.
I know.
Food for thought here.
Oh my gosh.
So, Jankel and Morton were well known as the directors, or they were known for being
the directors of Max Headroom.
Did either of you ever see any Max Headroom stuff?
A little, I'm familiar, yeah.
Tonally, and in terms of like the visual look, it actually has quite a bit in common with
this movie, which is a wild pick for Mario, especially now with what Mario has become,
but even then, it's not a fit for a colorful.
Silly, weird, world full of adventure.
Like their vibe is much more this weird, you know, early CG, pixel, cyberpunk, dark,
weird shit.
Like it's just like not the vibe you would pick, but it is the vibe this movie has.
So let me tell you a little bit of the script that I read, the one that I really read through,
which is called the Mad Max Treatment.
There's a variety of different ones.
There's the Ghostbusters Treatment, the Die Hard Treatment, where they all kind of take
the template of these other popular movies and put the Mario brothers through it.
I like you do.
Right.
Like, I think the Die Hard one is really in that tower, because Koopa lives at the top
of the tower.
He went to the Daisy up there.
There's a whole sequence where they go through the tower, and you could see that being
a little die-hearted.
And it's Nakatoomi Plaza.
Sure.
Exactly the same.
Right.
So the Mad Max one is a really interesting one to read, and that is apparently the one
that got a lot of the actors on board, and it was kind of going to be the script for
the movie.
And then there was a variety of additional meddling that happened, and it got changed.
It was so interesting to watch this movie, and then go read the script, because the script
is really similar.
A lot of the scenes are just one to one, a lot of the jokes, a lot of the like the one
offs, the setting, the setup, the whole idea is there, but there are these little differences
and then toward the middle in the end, it really starts to change.
So the beginning is about the same, but there are these little differences, for example.
So Daisy is still, she is digging up dinosaur bones so that she can afford to put herself
through college, because she hasn't gone to college yet, so that's how she's racing
money.
Oh, well, this is the final one.
And the final one is she's an NYU student, which is a little bit different, a good NYU
joke, which is she must have gone to Galladin, which for those of you don't understand it,
which is most of us.
Don't understand the NYU you were here, Galladin is the school at NYU that's called the
School of Individualized Study, it's where I went, I went to create your own major program.
And so people, it was infamous for having people create the most ridiculous majors you
can think of.
I knew one kid who had majored in evil, and it's like, that's his college major is evil.
There was another person who majored in teenage mutant Ninja Turtles by studying like
animation and like Renaissance studies and stuff like that.
So Daisy to presumably to be digging up dinosaur bones in New York City, she probably went
to Galladin.
Great.
Great stuff.
The thing about colleges that teaches you how to learn, and that's the important thing.
Exactly.
So in this version, right, she's not a student, that's a pretty minor difference.
I should say this, this script treatment is by Dick Clement and Ian Laferne, who's
one of the pair of people who like wrote a few of these.
But there are some more significant differences at the beginning that I just think they just
make it all hold together a little bit better for starters.
So Mario and Luigi, I believe are just brothers.
They are running their father's plumbing company, and he is died.
And on the side of their truck, it says like Mario, brother's plumbing, but it used to
say Mario and sons, and it sexed out.
So there's a whole thing where I think Luigi wants to change, but Mario wants to do things
the way their dad did it.
And that's just kind of their dynamic as brothers and their father is dead, and they're trying
to figure out who they are without him.
Pretty basic stuff.
It makes sense.
It makes more sense than what we got.
It just has, yeah, it feels a little, it's very screenwriter, right?
But it's a gym Mario bring up Luigi.
Are they brothers?
Is he his father?
Like what's going on here?
Why is Luigi an orphan?
That really comes back.
Yeah.
Oh, yeah.
Maddie, nothing to bring that up.
I really thought it was going to be like, oh, Luigi, like they give each other a look.
And Luigi is like, oh, yeah.
My eye never knew my parents too.
Like it seems like it's setting up for him to be from the dinosaur kingdom too, but no,
it's never brought up again.
It's so funny.
Oh my goodness.
So, okay.
So there's a lot of stuff like that.
And I think this provides an interesting insight into what must have happened because
there's so many things like that where you think, okay, so they just cut this one idea
and they didn't replace it with anything.
So let me just, I'll just kind of quickly go through some of the differences, the other
differences.
The big one in the beginning is that the Mafia guy, like the mob dude, I think his name
is Eddie.
Right.
I mean, it ends up being Skipali or whatever.
But yeah.
Yeah.
His sister is Daniella.
So Mario is interested in dating his sister.
So there's a whole relationship there where he is the scary Mafia guy.
Right.
He likes Daniella and Daniella really likes Mario and there's like that kind of vibe.
And then Eddie, I think his name is, he takes Mario and forces Mario to be the one to
flood the dig site so that his work can get back underway while that's happening.
Right.
So while that's happening, Luigi is with Daisy in the same site.
They run into each other.
So everything just kind of holds together because there's like an actual conflict that makes
sense.
Yeah.
It makes movies sense and the characters have relationships.
They go to the mushroom kingdom.
A lot of that plays out similarly.
Some of it's a little bit different, but there's, you know, a lot of the same jokes, a lot
of the same scenes.
It's the same idea where they...
It's in the evolution stuff in there because that stuff are the weirdest most horror movie
aspect.
That's there.
The stuff with the against bike.
Right.
Being evolved and they become good guys.
That happens.
A lot of this stuff still happens.
So your theory is that the directors who are just like impromptu, like changing things
on the fly.
Well, let me tell you the remaining things that change, which I think we're just cut
for budget reasons.
When they wind up going to the desert, which happens after all the hijinks they get
arrested.
They run into Koopa.
They have a whole fight.
He shows them to the Diavolution gun.
They escape.
They go to the desert.
They have a whole car chase and a cop car.
They get to the desert.
And in the, sorry, in the screenplay, there's like a whole bunch of stuff that happens in
the desert.
It's a whole extended sequence.
This is why it's called Mad Max.
There's all these car chases and there's like big armies of cars and it's kind of like
Mario Kart.
The idea is that they're doing a whole Mario Kart thing where there's this death race going
on and people are watching it on TV.
So that's just a much more extended sequence.
Then they make their way back into the, into Dino Topolis.
Is that what's called Dino Topolis?
Dino hat.
But it's a Dino hat.
But Dino hat.
Not Metropolis.
Dino Topolis would probably make more sense.
It rolls out the tongue.
But unfortunately, it's Dino hat.
Go on.
So they go back there and then it's a similar final step piece where Koopa has Daisy and
the tower and they have to get in.
So some of that stuff is, a lot of that stuff is still there.
And then the big finale of the movie is that he reunites, you know, he reconnects the
media right and the world start merging.
And then there's a whole Ghostbusters thing where you know the climactic sequence of Ghostbusters
where they shut down the PKE meter and you see all of New York as ghosts are invading
everyone's lives being Kirk here as I am editing the episode.
And I'm sure some of you noticed this and I'm really disappointed with myself.
And I wanted to offer a sincere apology for the fact that I just called the ecto containment
unit the PKE meter, which I mean my 12 year old self is so disappointed with myself
right now.
It's not the PKE meter.
That's the psychokinetic energy meter that he gun uses to detect ghosts out in the field.
The ecto containment grid is what pecs shut off and Ghostbusters that cause the ghosts
to break out.
That's what I meant to say.
The ecto containment grid.
Okay, back to the show.
Bing.
So there's like crazy dinosaur stuff is just turning up in different places.
So there's all these kind of in the script.
There's these sequences.
Oh, this happens.
And that happens.
You know, in this part of town and that part of town.
Getting this sense that all this wild stuff is happening.
And then finally, there's a showdown on the Brooklyn bridge between Kupa and Mario where
like Kupa is like a monster like dinosaur, yeah, he's not that, I think he's not that
big, but he's kind of big and they fight and then he like drops the bovon into him and
it blows him up.
And it's like, so it kind of, you can imagine that movie.
And it's a really weird movie and it is a like who framed Roger Rabbit style wacky, bizarre
film.
But it would hold together a lot better.
And then you see all of these changes and cuts and weird decisions that they made again
and again and again and again, until the movie that you're watching just, it's just so
strange.
It's this pastiche of ideas that aren't held together by anything.
Mm-hmm.
And you end up with some parts that just can't ever be explained like why, okay.
So the whole de-evolution mechanic, I kind of love it.
It's kind of amazing.
You call it a mechanic.
It's a mechanic.
This is a video game.
Oh, it is a mechanic.
So for unknown reasons, King Kupa has developed a machine that either evolves or devolves any
being that he puts into it.
So like, he's devolved the king into fungus because the king has evolved from fungus.
Okay, sure.
Cool.
And then he evolves his two henchmen, Iggy and Spike to be smart, which is very funny
to me because then the two of them end up being like communists like they both get really
into like intellectual, genuinely funny, and start accusing him of like corruption and
like advocating on behalf of the proletariat, like by becoming more intelligent, the henchmen
turn on Kupa, which is honestly really fun to me.
Yeah, really like that.
But then also, he famously devolves toad, a character named Toad and other characters
into coombas.
A character named Toad who is just like a guy.
A guy who has like a swirly haircut, is that supposed to look like Toad looks in the
game.
I mean, I definitely like Toad.
No, I know.
That is a mushroom for her head.
A mushroom hat.
But the goombas don't look anything like goombas.
I mean, you could say about anything in this movie where it's like, they just came up with
some new concepts.
Like, okay, some things are very similar, like Yoshi is a little velociraptor who's like
super cute.
Like, yeah, he's like a realistic velociraptor, but he's still a cute little guy.
Like, the goombas are like really tall guys with like these huge like wool coats on.
Like, they look like Soviet cops or something and like, then they have really like a teeny
tiny teeny teeny teeny tiny heads.
And usually they're little teeny tiny heads around, but like in the elevator scene, there's
like one of them that has like a teradactyl head.
I miss teradactyl head yet.
Well, some of them devolve into like a little teradactyl head and some of them devolve into
like a little like branches, sores head I get.
Like, I don't even know.
Like, they were all different dinosaurs originally.
A lot of this reminds me of the fifth element for whatever reason, it has kind of fifth
element energy.
Yeah.
Another movie I love.
Yeah.
Around the same time.
The sequence where Luigi gets them all to dance in the elevator is like very fifth element
and kind of lovely on its own just as a bizarre sequence.
It is an example of something where I'm like, fifth element by the way was 1997, so maybe
they're inspired by this.
They could have been.
But honestly, fifth element at least has a plot that makes sense, which again can't
really be said of this movie.
More so than this movie.
This movie.
I'm like, why do the Goombas love music?
Like, why not?
I guess.
So I had a feeling that you guys might not know this because you guys didn't play Mario
games growing up.
Well, so Super Mario Brothers 3 has an item called the music box that lets you like put
enemies to sleep essentially, which is like what this is clearly at least it seems
to be a reference to because it makes them like sway like the way they're doing in
the movie.
And they're like sort of hypnotized and they like get into a little day.
I don't know if you guys know this, but Bertha is an enemy.
She's a big fish, big Bertha also originated in Mario Brothers 3.
A lot of this stuff because Mario Brothers 3 would have been and world would have been
the two most recent ones.
So I guess that a lot of the references.
I also read, I think that their her boots are probably a reference, maybe a reference
to Caribo's shoes, which are an item that lets you just like, stop on enemies and stuff.
Yeah.
Although that's a little bit more of a stretch.
She's a fun side character, which is another example where I'm like, it just from a screenwriting
perspective, it's very odd to like have this character show up just in the middle of
the movie, sort of be an antagonist briefly, side with the characters.
She gets seduced by Mario in a pretty hilarious dance scene.
Their chemistry is also incredible.
Like you kind of root for them briefly and then he like doesn't end up with her because
he's already got a girlfriend, so that's like, why is Mario acting on this movie lately?
And makes this a...
Bob Hoskins has chemistry with everyone.
Bob Hoskins is incredible in this movie.
He's so good.
Well, he's like the most stereotypical Italian and he's British.
I was, my mind was freaking blown and I found out he was British.
Like, no lie.
He's so good in this movie though.
I read Wikipedia that Danny DeVito was like considered for that role, which it's a shame
that he didn't get it because imagining always sunny Danny DeVito as Mario is just...
He's a similar energy.
Like, I feel like Bob Hoskins is kind of doing his version of a Danny DeVito.
It is.
No, no, no.
I was going to say, well, I was going to say as much as I like imagining that, Bob Hoskins
is so perfect as Mario that it's just, it works very well.
But we did miss that opportunity to have Mario come out and be like, so anyway, I started
blasting.
Yeah, I think so.
I recently rewatched Who Framed Roger Rabbit for the first time in a long time because
they were talking about Robert Zemeckas on Blank Check.
I feel like I talked about it on the show.
I did, yeah.
You definitely did, yeah.
Yeah, it's a great movie.
A movie that has no right being good because it has that same manic, you know, off the
wall energy.
And I think Alan Silvestri did the music for that and Alan Silvestri did the music for
this movie.
And this movie is so incoherent even though there are sequences in it when they're driving
and it's mad cap chase sequence and there's this like alto sax stuff playing and it really
feels like Who Framed Roger Rabbit, which has that same vibe.
And then Who Framed Roger Rabbit similarly melds that with a really kind of hard boiled
noir storytelling like story style and ultimately like a narrative that is really interesting
and pretty good that holds together somehow by the end of it even though, you know, they
don't get bogged down by all this wild technological stuff they were doing with the animation
and whatever else.
And Bob Hoskins carries that movie.
I was so kind of just unaware of him and rewatching Who Framed Roger Rabbit.
First off, you're aware watching it now of how incredible what he's doing is in every
scene.
And Who Framed Roger Rabbit when the weasels come in and he's hiding Roger in the sink.
So it's like this shot of Bob Hoskins and he has his hands in the sink because he's pretending
to do the dishes and the weasels are searching his apartment and they're going to kill Roger
if they find him.
And then Roger will like burst up out of the water and need to take a breath and then he
like pushes him back down and he's talking to the weasels.
And the whole thing is just Bob Hoskins in a room, there's no one there except for I
think there's maybe, you know, there's some stuff like little things to tell him where
things are.
Yeah.
But he's and he's he's amazing.
It's an amazingly constructed scene and it's kind of it's kind of a tribute to how good
Robert Zemeckis was as a director at like managing special effects and working with
the actor to get him to see what's going on.
But it really is also just it's a tribute to Bob Hoskins.
He has that twinkle in his eye.
He has an ability to just ride out these ridiculous scenes and he does it in this movie too.
His early scenes with Danielle like he has so much charm like he's such a believable
version of this like you said Jason Stereo typical kind of Brooklyn, you know, I like
this kind of guy, but he's a gentleman, you know, I can't believe he spent the entire
two-hour movie without one saying, hey, I'm walking here.
It does feel like a movie that would have that line in it like it does have a have a nice
trip.
See you next fall.
Like, there's a few like, why is this action movie one liner?
That one doesn't even work right before he's going into like the devolution chamber.
He's not tripping or falling.
Right.
But it is.
Yeah.
It's incredible.
Yeah.
Bob, he's, he's, I wanted him more of him and Dennis Hopper because the two of them were
just like kind of outclassing everybody else in the movie.
It feels like they just don't belong here.
It's like as if they brought in like, I don't know, like Philip Seymour Hoffman to
do like a porn.
It's just like, like, it's just like one of these like top-notch actors doing in this movie.
I feel similarly about Fiona Shaw in that, in that way where like she, yeah, she's great
too.
I feel like she doesn't really.
She cams it up in this movie.
She knows what she's in in terms of hamming it up and like wearing her weird little corset
dress and she's also not based on a Mario character.
I mean, I still confused about her.
I was like, is she going to turn out to be, no, she is definitely not based on her, like
is she going to turn out to be someone, but no, um, in the movies, there's, I mean,
the games.
I mean, King Cooper, which is weird that they never call him Bowser.
It's weird that he's just.
Well, he's not Bowser.
Why Jason?
It's because the other guy was Bowser.
That doesn't make any sense.
So hang on a second.
Hang on.
I'm going to rewind to something you said a second ago, which is that Fiona Shaw is hamming
it up and Dennis Hopper is not, which I don't agree with.
I think the reason Dennis Hopper is great is because he's fully hamming it up.
The guy is walking around making T-Rex hands these many times because he isn't involved
T-Rex.
He is like totally unhinged in this movie in a way that isn't always coherent, but is extremely
hammy.
I mean, he and she as well, like they both are fantastic.
That's true.
Very, very silly.
But it's also like you know, Dennis Hopper could be doing so much more.
So there is something to the energy of his performance where you're just like, why is
this guy here?
Like, I don't know.
You kind of have that sense a lot.
But there are also at least for me, there were moments when it's like, oh, this is like
Dennis Hopper.
Like he's really good at like playing this medicine guy.
Despite the ham.
I don't know.
I kind of saw I saw some stuff in it.
Maybe it's just because I've seen Dennis Hopper and other stuff and so I'm kind of strappling
that.
Yeah.
Yeah.
I mean, I don't think that's as much the performance as it is that directing in this
screenplay.
Like, there's a whole running bit where he's ordering a pizza like there's a lot of stuff
with his character.
Yeah.
And his pizza never arrives.
It doesn't make sense.
He's like, and where's my pizza?
It never actually comes.
Right.
It's one.
It's a weird bit.
I expected it to come at the end.
Like, that's another thing though.
Yeah.
Just never follow it up on me.
That's what I'm saying.
And so it's not so much.
I mean, so speed came out a year after this movie when like Dennis Hopper is great, iconic
villain turn in speed.
And also, that's like one of the great screenplays.
If you just want to look at a kick ass action screenplay, speed is what you look at.
It's just, it's, it's so well done.
And he has a really consistent character.
He does exactly what he needs to do.
And it's the same thing, like a menacing villain who's, you know, overseeing everything
in his all-powerful right until he isn't.
And it works great.
And in this movie, it's, it seems to me that he was going for it.
I mean, he kind of, he was trying to deliver the lines, but it's just each scene, he's
kind of in a different mode.
It's just not really what he's supposed to be doing.
Because they kept cutting this stuff out and making changes to the screenplay to the
point where whatever decision they had made earlier wouldn't make any sense.
There's so much stuff like, like these little weird incongruities in this movie.
I was really aware of the jumping boots when I was a kid because I assumed having seen
the trailers and heard my friends talk about it, that they were going to get the jumping
boots and then do a bunch of jumping because that's Mario's whole thing is doing big
high jumps.
And then it basically never happens.
Obviously, the special effect is really difficult or, you know, it seems that way since
it only happens a couple of times.
But also, like, there's a scene of them in the elevator where they're finally wearing
green and red, not to get sidetracked, but another bizarre thing about this movie is that
Mario is basically wearing a green jacket and Luigi is wearing red for most of the first
having the movie.
Anyways, they're both wearing the green and red and they're wearing the boots and it's
like, here we go.
We're going to climb this tower, they're like high five, it's kind of iconic shot.
And then in the very next scene, they don't even have the boots on, they're trying to
jump across that gap, the boots are gone and the boots don't even come back until
they're wearing the gun later.
Yeah.
Yeah.
So there's so much stuff like that where it's just clear that things were cut and rearranged
and lost in the edit.
And like, it's just nothing makes sense at all.
So every performance has to suffer because of that as well.
So then you have to explain how they get the overalls out fits.
I feel like I missed that.
They were like in a locker room.
Yeah.
Yeah.
Yeah.
So I was like, hey, Luigi, like check this out and then next scene, they're wearing it,
but it's not like actually, like it just doesn't make any sense, it's not if it makes
any sense.
Yeah.
Because it's like, well, why are they wearing the like disco guy outfits in the prior
scene that like they make all the jokes about their disco outfits that they go in before
they meet Bertha for that scene that I mentioned earlier, which I just want to like emphasize
because I like started that thought and didn't finish it much like this movie.
I think Bertha's really awesome.
I don't know why she's in this film, but I think she's great.
And like I found her.
But it's not clear why she steals from them in the first place.
I know.
It's like, why does she steal the necklace from them?
Like, they're sort of like a hint that there's something else going on with her.
Like, what's her story?
Why does she have her own motivations to get this necklace or not?
Why does she have her own nightclub?
Why does she have her own nightclub and also her own like cash of weaponry in the back
room?
And she like kind of realizes that they're both rebels and it's like, okay, I'm going
to help you out.
But it's not like there's enough coherency to that scene that that's some big reveal
that she's like, oh, I didn't realize you were on my side.
Like even that would be more of a line than they give her.
You just kind of have to put together from environmental storytelling that apparently
she's against King Coupon is like willing to help the Mario Brothers out with their quest,
which I don't know why.
And combined with the decision to have Iggy and Spike Kidnap, a whole bunch of random
women before they kidnap Daisy is just bizarre because then you have all these random women
in a tower for the entire movie, kind of just being hilarious, but it's like, why is that
even here?
That's what I kind of like that.
The one lady who's just smoking a cigarette through the whole chase sequence, I thought
that was funny.
To Bertha, I think Bertha is a character who has rewritten a bunch of times.
I believe there's a version of her where she was the chief of police or she was a police
officer.
And that's why she took her picture.
In the die hard part, right?
Like she was kind of the character on the ground.
I'm forgetting that guy's name, Al Powell.
She was the Al Powell on the ground, like directing the Mario Brothers through their
drama games.
So it's a character that has gone through the filter of rewrites until she makes no sense.
I do agree that I love the nightclub scene also because it features Was Not Was that
thing?
Yes.
Walk the dinosaur.
Walk the dinosaur.
Yes.
Which is a banger and everyone should listen to that song.
It's so good.
It is.
And I just like that there was an extended action sequence to walk the dinosaur.
I guess it's extremely 80s.
That whole sequence.
Yeah.
It's so 80s.
Yeah.
It's the felt like it could have been, that whole sequence felt like it could have been in
like one of those buddy-cat movies from the 80s.
I would say late 80s, early 90s, because this just has a big TMNT movie energy, which
was also, I think, like, 1989 or 90.
And actually this movie kind of reminds me of Idiocracy as well, that either of you had
notes of Idiocracy in this as well.
Yeah, just like lining up in a weird world where a lot of stuff does not make sense.
So then the funny thing is that Idiocracy, the whole joke of that is that the world is
ridiculous on purpose because it's an Idiocracy, right?
And in this movie, it feels like that, but it's supposed to, you know, exist according
to some sort of rules.
It just doesn't because, nothing makes sense because the screenplay doesn't make sense.
So it still kind of feels like this just completely, you know, bananas world.
Well, I guess what they were going for is that it's supposed to be this bizarre world where
people are a little bit more nasty and a little bit more rough and tumble.
But what also doesn't make sense is that like, why do they want to get rid of King Kupa
if they're all just kind of like these dino's who like, like, why do they all, when
they all feel like, hey, we want to get back to our, the world where we should belong
and like be with the humans again, like it just doesn't really make sense that a that
they all hate King Kupa, be that King Kupa is in control despite that and see that they
all don't feel the same way.
Like, why is Kupa the only one who wants to merge the world?
Well, and Lena wants to merge the world and I don't really know why there's like disagreement
between Lena and King Kupa about that.
Well, she's jealous of the princess, but like, then King Kupa seems kind of upset that
she like takes the meteorite herself and is like, I'm going to merge the worlds myself.
But then after the world's merge, he's really excited again and he's like, great.
The worlds are merged and it's, it's kind of weird.
Maybe he knew she was going to die.
I don't know none of it makes any sense, man, it's all just, well, yeah, it's so incoherent.
I've never seen a weirder, like more, maybe like artsy, fartsy stuff, but this is the
most commercial, like weirdest commercial movie I've ever seen, it's, it's apparently there's
a quote I was reading from Reggie Fees of A where he talks about how like it bummed
out developers at Nintendo and like people, it took them a while like a past it and stuff
like that.
Yeah, it was really rough because it's such a strange downer of a movie and Nintendo
has not made a movie since until Mario Brothers coming this spring, which will be them trying
to, I mean, presumably redeem the Nintendo, like start the new Nintendo cinematic universe
and put, but this old one behind them.
But the fact that it took them, it'll be 30 years one between the two movies says a lot.
I think there's a lot of interesting stuff going on there, just culturally, like in
the way that game, video games have changed, like the role of video games in our culture
has changed and the sort of accessibility of a video game movie because in the interim
between this movie and now, you know, it's, it's just been demonstrated that you can
do this and it can work.
There's the Sonic the Hedgehog movies, which don't actually do very much for me, but I
know some people really like, but then there's been a million other ones, Mortal Kombat
as like a gritty, realistic one.
And then there was Reckett Ralph.
And I think that Reckett Ralph, it's, I feel like the tone of Reckett Ralph is going
to be the closest thing maybe that this new Mario movie will do, where we understand video
game mechanics.
Like when I say we, like broad audiences can just go to Reckett Ralph and get the jokes
of that movie, which are all jokes of, well, you're inside of a video game now and here's
what happens.
And I'm guessing that this Mario movie isn't going to be, he goes inside of a video game.
It seems like he's going to go to a parallel world.
But Mario is so established like, though there's just this literacy there that I don't think
people could assume an audience had in 1993, because it was video games were pretty new.
I mean, Nintendo had only just saved the video game industry like, you know, five years
earlier or something.
So it really, there was just a lot less trust.
So I think that was kind of the assumption as well.
We, we got to just do something that works on its own as this sort of action fantasy movie
rather than.
And that's really double down on the Nintendo units of it all and make something that works
on those terms.
And they may have, I mean, I don't know if they were, I think maybe there were no no-wind
situation because I'm not sure that 1993 audiences would have been ready for something that
was just pure.
This is the video game in, you know, in a cinematic world that we just tell the story of.
Yeah.
I mean, the thing to consider here, the biggest, the biggest consideration here is that
most people in the 90s who played video games were kids.
And it's only now that adults who grew up playing games are still playing games in addition
to you.
And this is, of course, generalizing.
Obviously, there were still, there were adults who grew up in the 70s and 80s playing
games too.
But like for the most part, this audience of Nintendo fans would be children.
And so the movie, yeah, like you said, it's scary to your point.
It's scary.
Yeah.
I mean, it's, it's interesting.
It is, I mean, it's a little bit scary, but it is a kid's movie, but it's through and
through.
And now I think you can make something that is a little bit more appealing to both adults
and kids.
If you're doing an Nintendo, an Nintendo movie, and you can, you can trust that the audience
will be there.
Yeah.
Although I also think that making a live-action Mario movie is a doomed idea.
If it's not something like the wizard, where it's like real-life characters in our world
playing Mario, and it's not like about that, like the idea of putting the Mushroom
Kingdom or whatever you want to call it, they are calling it something else, but that's
essentially what this is.
In the real world is horrifying, because you have anthropomorphic mushrooms and dinosaurs
working together.
So if you want to make the dinosaurs look realistic in and of itself, you're going
to have Yoshi looking like a little velociraptor, and like, then you're going to match that with
like a fully humanoid princess, princess, her soul.
Like, why is she a human?
So you're going to need to keep that in somehow.
Well, you also have the problem is that Mario is a cypher, like he doesn't have personality.
But he's from Brooklyn, come on, we know that much, so you got to keep that in somehow.
So it's like the bizarreness of Mario games is part of what makes this movie not work
at all, because it's like, these are just cute images that when they're pixelated in
little and cutesy and have little eyeballs on them, they work great, because they're all
of a piece.
They're all part of the same Mario aesthetic, but when you put them in the real world, it's
like horrifying fungus and like dinosaurs attacking you and then like a princess.
I don't know.
It's just, it's crazy.
Like, why would that all be there?
It's, I mean, to some extent, this is the nightmare of New Dog City in Super Mario
Odyssey.
It is.
Like, this is why New Dog City feels like a nightmare hellscape because it's a somewhat
realistic looking city, but it's like hilarious for Mario to stand next to like a real
guy.
Like, that's the part of New Dog City that's so weird, because you like it.
And that's the joke of that level, and it's a wonderful joke, and it's very funny,
but it's the thing you're talking about where the minute you start to merge a real world
with the mushroom kingdom, you know, your sanity starts to come apart at the scene.
Right.
Because it's like, well, this animation style is purposefully exaggerated and like a little
uncanny when you put it in the real world.
It's like those real world Simpsons memes or whatever.
Like I was trying to explain the beginning of the episode.
It's like, why would you put something like uncanny and cartoonish into like, it's
to have real skin textures and like real hair?
And it's like, that's how I feel when I look at like the fungus creeping in this movie.
I'm just like, I don't, I don't want to go to the mushroom kingdom.
That sounds horrible and bad.
Something else that I think really doesn't work about this movie and maybe one of the
reasons we all felt so unsettled watching it is that like, it doesn't really have any
arcs or changes and the characters don't change.
They're all just cartoons.
The closest character comes to like changing or overcoming an obstacle or anything like
that is daisy just kind of being like, oh, I have learned my place in this world and
turns out I'm not from this world.
But even that, you're never really, you don't learn enough about her in the pre-Dino
Hatton world to like actually for that actually to work as an arc.
So Mario and Luigi are essentially in the same exact place they were in the beginning,
like when the movie ends they're in the same place they were at the end except now they're
going to go on another adventure with daisy for some reason.
And they got to be on TV and now everybody knows about the parallel universe and how they
say about everybody there.
And Capeli is no more because he's a monkey now.
But the point being that kind of like when he terrifying, he gets transformed into a monkey
like everyone present laughs.
Yeah, I know.
It's like as though they knew that was actually really scary and weird and bad.
So they're like, okay, we're all going to laugh.
Like this is the funniest thing.
So yeah, I think it's like kind of disconcerting because most movies like the kind of fundamental
role of like rule of movie making is you show the transformation like a character starts
in place point A and ends up in point B and for that not to happen over the course of
an entire like one and a half hour movie is just kind of weird.
Yeah.
And when you look at that earlier screenplay and you see they've done that basic screen
right early thing because the arc of the Mario Brothers is they're learning how to create
their own plumbing business and succeed without their father.
And the end is the same end where they have repainted their truck and it says now we're
the super Mario Brothers and they've but it makes sense as part of their arc that they
have now formed this new identity and when you cut that out, I mean, it's not like the
biggest arc in the world, but when you remove it, yeah, you just get a movie that's
incoherent and then that has happened to every single character.
Yeah, it just feels so listless.
Yeah, well, because Mario and Luigi never need to have an emotional arc that isn't what
the point of the Mario games is.
Like they're always just a restoration needs to have that.
Yeah.
Well, sure.
But it could have like the movie used to have that.
Oh, well, they're going to have to come up with one for Chris Pratt to do.
But like, well, this movie is going to be like at the very least solid, like it's going
to have a solid baseline.
Like we're all probably going to leave being like, wow, Chris Pat, like he really, he really,
like his voice sucked or whatever.
But like at a baseline, it's going to be a competently made movie, not like this.
Like it's not going to, you're not going to leave it just so confused the way that you
might leave this movie confused and like horrified and worried about whether you're
okay or not.
Yeah.
And part of me loves this movie as an artifact of that thing happening because that happens.
I know it's, it still does happen, but it feels like this type of disaster.
It's been a while since I saw a movie that was this level of disaster and especially
reading about that stuff.
Because usually you just wouldn't release it.
Yeah.
Yeah.
But we've seen, but we see a lot of games that are this level of disaster.
That's another interesting thing is that that happens a lot.
That's true.
That's true.
Yeah.
I don't know.
There's just, there's something about the fact that this movie does exist and it is possible
to watch it that I sort of just enjoy it.
Like I really had a great time watching this.
It's an hour and 45 minutes well spent in my opinion just because it was bizarre.
I just, Emily and I sat there on the couch just, I was furiously writing notes, you know.
Did we do anything in your notes that we didn't get to, by the way?
Do you want to talk about how great Fiona Shaw is?
She's iconic.
Yeah.
So Fiona Shaw, who anyone listening to this probably knows, well, might know from Andorra.
She's now in Andorra, which is really, she's great in that, but also was in Petunia,
Harry Potter and Harry Potter.
Yeah.
And she's in Killing Eve.
She is.
Yes.
She is the other woman.
Yeah, the handler in Killing Eve, a versatile, really cool actress with a very striking
look.
And in his bringing it in this movie for all that, as in coherent as her character, is the
scene where she gets bright of Frankenstein here and is stabbing.
She's going for it.
And I really respect that about it.
And she does a lot of exaggerated body movements because she's a snake, basically.
She has a little pet snake and she does all these weird head shakes and sudden turns with
her head to make herself look really scary and they add in all these sounds, little clicks
and stuff.
I don't know.
Why?
I don't know why she's a snake.
I don't know why she's in the movie, but I love it and I feel like she's really bringing
it.
And it's fun to have another antagonist who's a woman because it's not really something
Mario games do and they're already kind of struggling with the inherent sexism of the
premise of like, okay, a princess needs to be captured.
She needs to be restored to the throne.
It's all very conservative and a capital C classic story structure way, but they just randomly
add in this evil snake lady to be like, I have my own plan.
I just happen to be identical to the male antagonist's plans, but I'm also here.
It's just like, okay, sure, I can't swine at it.
Yeah, really in the end, my advice to people is to read, I'd say read that Mad Max treatment.
Like I said, we'll link it in show notes just because there are even the scenes between
Koopa and Lena are also different.
Like there's a whole seduction scene in the mud that's really funny.
Where the mud scene in the movie is just like a weird, it doesn't make sense.
It's just like everything in the movie, it'll put the movie into a very interesting context
reading that screenplay because I don't know that the screenplay would have been a good
movie if they had just made that screenplay into a movie, but I do think it would have made
more sense than the movie they made.
And it makes the movie that they made make more sense if that makes sense.
I was just trying to figure out if Lena is irreverent to anything, but I don't think it
is.
Like if anyone knows what it could be, but I just don't think having played a whole
lot of all those mario games, I don't think she is either.
And I don't think Danielle who is Mario's girlfriend in this is a reference to anything
her name is obviously not Peach or Pauline, which is what I would have thought.
Yeah, also weird.
Yeah, that it's not Peach and she's just kind of like stereotypical, like Italian woman
who is a good girl.
Yeah.
I mean, I don't think she's hilarious.
I also like that they worked in eating pasta in this movie, like they work in eating pasta
and they have a shot of just them putting cheese on the pasta.
Love it.
Well, in a surprising amount of plumbing, which is nice to see.
Yes.
And I like the scene when they rescue when they're rescuing all the girls and he's like,
oh, you're all the girls from Brooklyn and they're like, well, she's from Queens, but
she's alright.
There's a lot of Brooklyn's versus Queens in this movie that I also enjoyed.
Solid New York jokes.
There's a line.
What's the line is like like Mario, I don't think we're in Brooklyn anymore or something
like that.
Yeah.
Yup.
Yup.
Yup.
Classic stuff.
Well, personally, as we're closing in on the end of this episode, I still really kind
of like this movie, even though it's weird and terrifying.
For sure.
I do like the idea of the Mario Brothers traveling from an alternate dimension, Brooklyn, into
a mushroom world.
And it does kind of sound like we all agree that it'll probably still happen in the 2023
version.
That way.
Still be from Brooklyn.
I kind of hope so.
I'm also even hoping maybe there will be like some little references to this movie because
I have a soft spot for it and I just would personally enjoy if Nintendo was a good enough
sport to allow for that, but I'm not sure they would be.
I also, I know after the whole Chris Pratt announcement thing, there were a lot of people
out there because this movie has kind of gained some begrudging fans and also like a true
cult following, but there were definitely some people who were like, well, Bob Hoskins
is like how I always hear the Mario voice.
You know, like for some people, it's Charles Martinette, but like, I don't know, for me,
it's Bob Hoskins.
I feel like that's what Mario should sound like and so do you have any closing thoughts,
Jason.
Go ahead.
Yeah.
So Bob Hoskins and Jalen, the good, like, was on my, like, was on my, like, had talked about
how they would show up drunk on set just to get through the day.
That's how bad it was.
And like, all these, there are a bunch of stories out there about how trouble the production
it was and how disastrous the directors were.
I think the directors at some point were like, I still leave the set.
That's how bad it goes away.
So it's just like, it's, it's evidence that like when you're watching an end, go here
at movie, like the behind the scenes story is probably even more fascinating, which is
the case with games, too, of course, as we've learned the behind the scenes story is
more fascinating than the story of the game itself.
But yeah, the Bob Hoskins, Bob Hoskins, causing it, calling it like a fucking nightmare, so
many games.
So many games.
I got it.
I'm, I'm sorry for him, um, R.A.P., but also like, I'm so glad he made this movie because
it's brought me a lot of joy.
What's the quote, the, the Twitter quote, it's like, this is a terrible time for America,
but it's sure is good content.
Great content.
That's that.
I'm glad.
Yeah.
Karak, do you have any final thoughts?
Are you glad that you finally saw this movie?
I am.
Glad that I finally saw this movie.
I feel like a small part of me is now complete.
Yeah.
And if you finally discovered the necklace around your neck, what it truly meant all this
time, the truth is.
Right.
Most importantly, you guys, trust the fungus.
Yeah.
Trust the fungus.
It's a good, a good moral, really, for the movie.
And with that, we thank all of you for being Max von supporters and coming up on the
Thomas journey.
Yeah.
Thanks for making this show possible.
Bless those of you who bought a DVD of this movie because I've, I've seen folks in
the triple click discord saying that it's not streaming anywhere, so thanks for watching
along with us.
I hope you had a great time.
And thanks so much for, for joining Max von.
We love all of you.
Yeah.
And we appreciate all of you.
Yeah.
Thanks.
You did it again.
See you guys next time.
Bye.
Triple click is produced by Jason Shryer, Maddie Myers, and me, Kirk Hamilton.
I edit and mix the show and also wrote our theme music.
Our show art is by Tom DJ.
Some of the games and products we talked about on this episode may have been sent to us
for free for review consideration.
You can find a link to our ethics policy in the show notes.
Triple click is a proud member of the Maximum Fun Podcast Network.
And if you're listening to this bonus episode, it means you're already a member.
So thank you.
We appreciate your support.
Find us on Twitter at triple click pods and email the triple click at MaximumFun.org
and find a link to our discord in the show notes.
Thanks for listening.
See you next time.
MaximumFun.org, comedy and culture, artist owned, audience supported.