ᴏ ʙ s ᴇ s s ɪ ᴏ ɴ

追加: 2026-05-31

[00:00:00]So, I saw Obsession and it was [ __ ] incredible. I loved it. I love this movie. I've seen it twice in theaters now. I actually saw it a week early at CIFF, Seattle International Film Festival. I wish I caught this at Midnight Madness at TIFF last year because that's where it premiered. But I had no idea that it would be this great.

[00:00:19]Honestly, I was not familiar with Curry Barker. I was not familiar with his YouTube channel. And honestly, if I hear that it's a YouTuber making a movie and I don't know who the YouTuber is, I'm not like, you know, immediately intrigued by that. So, the premise of this movie is that it's a monkeykey's paw type scenario. The main character gets something called a one wish willow from a store.

[00:00:40]>> I wish Nikki Freeman loved me more than anyone in the entire world.

[00:00:43]>> And so, that's his wish. And uh, as you can tell, he didn't phrase it the best, but he didn't know that he'd be in a Monkeys Paw situation. And he also, you know, did this as a spur-of-the- moment sort of impulsive decision where I'm not sure he even understood that this would work. The premise is, oh, okay, yeah, she's going to love you more than anyone in the entire world, and it's going to be a [ __ ] toxic relationship, but in a way that's actually kind of [ __ ] creepy and scary and terrifying and, you know, terrifying on on multiple layers because it's a horror movie, but also it's touching at very very real things.

[00:01:16]This movie might particularly disturb people who have been in abusive relationships cuz essentially this character becomes like a psycho, an unpredictable psycho, a a unhealthily attached individual that is not really experiencing a real connection, but a uh codependent need for ownership of another person. Essentially, this is easily a film where it could come out as kind of weird, kind of gross, almost like a uh fantasy scenario for the main character. And we've seen other horror films do weird [ __ ] like that. Like uh Eli Roth's Knockk Knockock. Basically felt like a weird fetish porno. Barely a horror movie. Terrible acting. Terrible movie. One of the worst MOVIES EVER.

[00:01:58]>> CALL 911.

[00:01:59]>> 911.

[00:02:00]>> But this is very smart. This knows exactly what it's doing. It acknowledges the problematic power dynamics and questions the main character's desires.

[00:02:10]It scrutinizes what he even wants out of it. Is it real? It's not really real love. It's not a real connection. It's not a real relationship. And even if we don't get into the sort of social commentary aspects of this film, it's just really, really [ __ ] well made.

[00:02:27]It has a huge sense of style. It's shot in a 1.5 to1 aspect ratio. Very intentional choice. This was made for under a million dollars, which is [ __ ] crazy. What I find so striking about this movie is that the visual style of this. If you watch this movie and pay attention to how dark the film is, but not in like a lazy we're trying to hide computer animation imperfections sort of way and not in like a, oh, we're trying to make a kids movie dark and gritty sort of way, but in a way where it incorporates shadow. There's shadow all throughout this film in ways that you don't see in most movies, let alone horror movies. And I kind of wonder why things like this aren't done more often because even in the daytime scenes and there are daytime scenes in this in this movie, but the daytime's basically from outside and the characters are inside and even in those daytime scenes where you know like a store like this in any other movie would be brightly lit and there might be you know some shadow but a lot of films would see that as almost like a mistake. A lot of directors and cinematographers, they try to get rid of things like shadow in the character's eye here or like this character being way darker or so much shadow over her.

[00:03:42]But it's a very intentional stylistic choice in this film. And it was so weird cuz while I was watching this, I was thinking, why am I reminded of Roy Anderson, who's like a Swedish director who makes these weird like art house almost like paintings basically where it's like super long shots and every single thing is a set and it's like meticulously crafted. And I realized as I was watching the movie, the reason why I was reminded of Roy Anderson is because Roy Anderson also plays a lot with the concept of shadows. But in his films, he essentially tries to avoid shadow in an unnatural way. So not like most directors trying to light a scene well or cinematographers or DPS. Roy Anderson does it in a way where there's something in your brain that knows that something's off. the color palette of his films very decaying, you know, very grayish, greenish, almost nauseating.

[00:04:31]And his films have a very comedic sensibility as well. But you'll notice like all of these characters like outside there's like no hard shadows anywhere. Like their their bodies aren't casting shadows. Like every outdoor scene is kind of like overcasty. And these are all sets. And every indoor scene, the lighting is so well thought out where there's something unnatural about the shadow usage. And I realized that that's exactly why I was thinking of Roy Anderson when watching Obsession is because Obsession, although not the same style at all, it is doing things with the lighting and much more where it's playing on areas of your subconscious. And it's getting parts of your brain, whether you consciously realize it or not, to understand that there is something wrong, that there's something off about how things look in this film. That in a store like this, and you know, we have the [ __ ] tube fluorescent light here. There's something different about the lighting in this. And again, this is like a retail store where like you'd expect things to be like overly bright. It doesn't look like it's dark or shadowy out of any sense of, oh, we didn't know how to light a scene or it was unintentional. No, this is a very intentional lighting choice made even clearer by the more exaggerated forms of that that you see throughout the film.

[00:05:40]So, this is one where she's lit from the back. She doesn't have fur glow or anything. She doesn't have an outline.

[00:05:45]her entire face, everything that we see of her is almost akin to a silhouette.

[00:05:50]We barely see her expression there and we see just enough that it's like kind of weird and eerie and off-putting. And that one's not even the most extreme.

[00:05:58]There are plenty. This is a great scene here when she's outside the door. There are plenty of scenes like this where her face is not lit very much at all. It's like a more mature way of doing what so many other horror films have done in the sense that like, you know, especially Knockk Knockock outside the door. I think The Strangers is one that did it where it's like, "Oh, you can't see their face. Who is it?" sort of thing.

[00:06:18]But this this film isn't trying to go, "Oh, who is it?" This film is trying to make something feel off and you can see her face, but like, you know, in this shot, a lot of light reflects off of her eyes. It looks really cool. I love this shot actually in the film. You can see a lot more of it in the film. The lighting throughout this movie is super [ __ ] cool, super [ __ ] styleheavy. I love that it's going for something different and weird, and I love that it's a consistent stylistic choice throughout the film. Another element where they're playing with your subconscious is that this is a film that is not afraid to use editing tricks and techniques that might in other films appear really shitty, but this film knows exactly what it's doing.

[00:06:58]So, I watched Return to Silent Hill last night. It sucked. It was awful. At one moment in that film, and probably more than one, they speed up the footage to make it look like a character is running faster, and it just looks so fake and phony and embarrassing, and the tone is way too serious. But in this film, there's a shot that takes place in this vehicle where as soon as she starts becoming possessed, she comes back into his car, and she lays her head down on the dash. You like can't really see her face. And you can hear her making these noises where she's like like heavily breathing and sighing and then she turns her head and then says a line and I forget exactly what the line is. During this part I noticed that it was ADR where it wouldn't make any sense for the sounds that she's making whether it be the size and breaths or the dialogue. It wouldn't make any sense given the way her body moves that she was saying that at that moment. That was ADR. And it's not something where I feel, oh, it's ADR and that's an annoying mistake or something. That's something where I feel like that's a choice. It is intentionally presenting something in a way that is off where you look at her and you might not consciously know this as you're looking at her. There's a part of your brain that might recognize this that something is off and she was moving and saying things in an unnatural way that doesn't make sense. And this film is not afraid to do things like that. It very explicitly has her sort of moving around in reversed images. They play the footage backwards to give her a very unnatural movement at several points in the film when she's like watching over him as he's sleeping. She like goes back to the corner. It's so silly, too. And I love this film sense of comedic self-awareness. Like it understands its absurdities. But at no point do I look at that and go that I'm as a person who watches a lot of movies and thinks about how movies are made. At no point do I look at that and think that I'm not supposed to know that that was an editing technique. But it works so well with the film because it subconsciously alerts you that something is [ __ ] off. If it didn't have a sense of comedic self-awareness and if it was taking itself way way too seriously and I was supposed to believe that literally every single thing happening in the movie was real, then I might feel differently about it. But this film is pretty explicit about it.

[00:09:13]There's there's one shot where she like I wonder if I can do this. There's one shot where she's like reverse motion like where she was clearly walking forwards and they played it backwards, but her voice was speaking forward. They didn't like reverse her voice any or anything.

[00:09:28]There's enough of those there's the right amount of those shots that are just so [ __ ] weird and uncanny. It's kind of like an uncanny valley sort of effect where again if you don't think about how movies are made and you don't watch a lot of movies, you might not even know what they did, but there's a part of you that will recognize whether subconsciously or otherwise that something is [ __ ] wrong. Something is off. And the entire film, the lighting choices and also the music choices, it is consistently giving us this feeling throughout. I noticed on a second watch during the scene where they're doing bar trivia that the bar was called Barker's Tavern and Barker is the name of the director. And so with that being pretty center frame, the director is saying this is my world. I get to do whatever the [ __ ] I want in here. I am creating this space. It's not reality. When they interact with the characters who are selling the One Wish Willow at this store, they treat it as though it's just like a normal thing. And there's this very intentional sense of comedy where the film understands that it's ridiculous, that there is literally a thing that you can buy for cheap that you can just wish anything you want. In another film that would be taking itself much more seriously, I might be like, "Wait, so all of these four main characters just like work at the same music store and they're all friends sort of thing. Like that's a little convenient." But this film again being something that is clearly saying this is not reality. this is my world and I'm controlling and I'm creating these things and I'm having fun with it. It doesn't bother me at all. It's like, okay, yeah, this is this weird universe where this is normal. And as long as it's consistent within its own universe, then there's no real issue for me. The score for this film is incredible. I love how dreamy and ethereal, I think might be the right word, it is. It kind of gives like almost Silent Hill vibes at points, but I love how it kind of like juxtaposes even the moments of comedy and levity in this film. The sound of the instrumentation and how like almost kind of like wavy or like again, there's something about what it's communicating that hints to your brain that something is off. Even within chords that on their own, removed from context, might sound pleasant. This film does it in a way where it alerts part of your brain that the pleasantness is like a lie, that it's an illusion. There are two scenes in this film that I remember where they play, you know, even like a nice sounding kind of like almost indie rocky song. One during a montage where they start like having fun together or whatever. And then one in another scene in the car with the character whose name is Sarah, I believe. [ __ ] awesome scene. In both of those instances, even though they have, you know, like a happy kind of nice sounding tone, there's something really foreoding and creepy cuz you know, not only just given the context of what the film is that something is wrong here, but also there's something about the song choices themselves. And I think how unnatural they feel within the universe given what we've felt already. Not just what we've seen, not just what we've been told narratively, but what we've felt. the tone of the score surrounding it almost delegitimizes the tones within those scenes in an intentional way in a way where it's supposed to make you think like uh I don't like I don't like how nice this feels. My guard is still up sort of thing. Oh yeah. Uh so I guess spoilers there's a very sad cat death at the beginning of the film and some people might see that as unnecessary or crude or you know like why would you show that? But personally, I enjoy seeing a film where you're able to feel emotions, right? That's a disturbing point in the film, and it's very early on, and I think it is necessary for this type of film because aside from that, spoilers. The first death in the film without that would be over halfway through. And the first death in the film that's a human is [ __ ] awesome. It's incredible. There's an original cut of this where apparently that was like 7 seconds longer that they had to uh trim down to not get an NC7 rating. So hopefully hopefully they release an unrated version cuz I would love to see that. That seems absolutely necessary for the tone of this film because again Curry Barker is like having fun with it.

[00:13:41]He's doing something where he knows that he can be silly. He knows that he can be cheeky and still disturb the [ __ ] out of you. It might be 7 seconds. It might be seven hits. I don't know. It was seven something. Anyway, Cat Death at the beginning is absolutely necessary for me because it lets you know that this movie isn't [ __ ] around. It makes the entire rest of the film beyond that point, the 45 minutes between that point and the first human death or whatever.

[00:14:05]It gives it a sense of stakes and consequence. It lets you know that it's not afraid to do things that would make you feel uncomfortable and that any character could die. Anyone, no matter how likable they are, is someone who you might be able to see suffer in this film if they're willing to kill a cat at the very beginning. And it wasn't just like, haha, lol, cat died, or whatever, like played for last. It was like you see the dead cat and then you see the main character like crying and like balling like no and like camera slowly lowers and you see the title like on his bed with the [ __ ] weird off-putting ethereal dreamy music like these weird [ __ ] sounding chords that are just like simultaneously upsetting and beautiful. Yeah, I I love watching a film where it makes it clear early on like we are not [ __ ] around.

[00:14:56]We're not going to be doing any [ __ ] to spare you your feelings, which is an odd concept that I don't understand why horror films out of every genre feels like they need to do. But this is the exception. This is the exception to the rule. Most horror films are made by [ __ ] Like they're made by people who are afraid to make people feel emotions. Like, oh, I don't want to kill a character that people like. Every [ __ ] slasher movie they set up the characters that are about to die as people that you either like don't know anything real about or people that are so annoying that you want them to die and it's like ah this is a dude bro and he's being mean to everyone and you're kind of just like well [ __ ] like you're rooting for the killer in those films. Like it's just it's it's so stupid, you know? Like sure if what you want is just gore and that's it then cool whatever. Like but that's basically just like porn at that point, you know? Like where's the substance?

[00:15:50]Depends on what you're getting out of the movie. It could be, you know, tons of movies that don't take their deaths too seriously can be fun. But I hate movies where it pretends as though it's not doing that, especially or where they dangle like a child character in a horror environment and at no point does it feel like that's possible for them to die. And so you're kind of just like, okay, well this character has plot armor. They're invincible. Who cares?

[00:16:11]Sort of thing. So yes, killing a cat at the very beginning of this film, very effective, absolutely necessary.

[00:16:17]legitimizes the stakes. It lets your imagination run wild with [ __ ] possibilities. It means that there's nothing off the table when you do that at the beginning of your film, which is very, very [ __ ] cool. Even with deaths of characters like Sarah in the film, immediately after he [ __ ] opens up the the acceptance letter for the college and is like, "Oh, damn." They want us to feel like [ __ ] shitty about this. Which is awesome. Art should disturb the comfortable and comfort the disturbed. I don't remember where that quote is from and I probably paraphrased it but like make people feel things.

[00:16:50]That's what art is. Like why are people afraid of that? I should also mention this doesn't feel like a Blumhouse film because this was made before Blumhouse was ever involved. So he is reaping the rewards of a great film being made that he had nothing to do with. This is a focus features Blumbhouse joint. This is like what we would think an A24 movie would be if they were still what we thought they were 10 years ago. This movie is absolutely delightful for anyone who enjoys morbid humor because even though this film is very funny, there's a discomfort to the humor.

[00:17:20]There's nothing about the fact that it is humorous that takes away from how disturbing it is. Oh, yeah. So, this movie is uh one that is very loud. And I've criticized jump scares before, most recently on the channel in Sinners. And I watched this, didn't even think about there being anything that could be considered jump scares in this. But after the first watch, one of my friends who also loved the film was saying, "Yeah, you know, I could do without the jump scare kind of stuff." And I was like, "What?" And I thought about it.

[00:17:46]I'm like, "Were there jump scares?" I like I guess it was loud, but I didn't consider those jump scares. And so on my second watch, I had that thought in my mind like, "Okay, were there things that most people would consider jump scares that I don't? And why? Why don't I consider them that?" And so on my second watch, paying attention to that, there are quite a few nondiioetic loud noises, but a they're a part of like the score.

[00:18:07]Like they're a part of the soundtrack.

[00:18:09]They're like, but like still a part of the score and not just like just a weird extra sound effect or anything. And something that I noticed about this is every time that they used a loud nondiioetic sound, non-diioetic meaning a sound that doesn't come from the film's universe. Every time that they used one of those, it was never what broke the rhythm. So in a film like Sinners, >> the nondiagetic sound that only appears to to startle you is what breaks the rhythm of the scene. There's like a slowness, right, where I felt like I was actually getting into the [ __ ] tone and it is interrupted by that sound. In Obsession, the non-diioetic sounds do not interrupt the flow or rhythm of the scene. What instead interrupts it is something that happens in the film's universe. So, one example of this is when they're like making out on the bed the first night that he brings her home after her being possessed or whatever, absessed. She's making out. Nothing seems off per se, other than like what is implied through the premise. What breaks the rhythm is her jumping back and going like, "Wait, what the fuck?"

[00:19:18]And then we get loud soundtrack sounds like loud non-diagetic sounds. What breaks the flow and obsession is always something diagetic. It is something within the film's universe. We are never robbed of that what's wrong, something's off moment by the jump scare. we are never robbed of it by the non-diagetic noises. And so it's very very [ __ ] clever. And with me being very mindful of that on the second watch, it brought so much appreciation for how things were edited, how things were considered in the overall voice of the uh film.

[00:19:53]Otherwise, there's points where the sound is what breaks the rhythm, but the sound is literally like her screaming or something. That was a cool thing to think about on my second watch. And I enjoy really getting into the details of like why I enjoy certain things or why I don't enjoy others because at the end of the day, I don't mind a loud movie. I don't mind a film that has really loud sounds in the soundtrack. I don't mind that at all and it can very much add to the personality and flavor of the film.

[00:20:25]What I don't like is something that feels cheap and manipulative. At no point did those sounds in this film ever feel like they were trying to be there in replacement of an emotion. They were there to accentuate and complement the existing emotions. And then also, yeah, I mean like a a film like this where, as I mentioned earlier, is very clear about what it's doing in terms of providing this playground for the director to like torture these characters. you know, it has a bit more leeway to do silly weird things where it's obviously like a movie. But even even so, even if that wasn't the case, this is just done so much better. It is shocking that this film was made for under a million dollars. That is super [ __ ] shocking.

[00:21:09]It is a pretty reserved film in the sense of like what the sets are, how complicated they are, and how frequently we return to them. Like in that sense, I get that it's a lower budget film, but the quality of how things are captured on camera. Even the makeup and prosthetics looks better than [ __ ] you know, the drama by Christopher Borgley. That was an issue that I had at the end of that film where Robert Patson like it didn't really feel like he got beat up. The implication was that that's what happened, but like it needed something more from the makeup. Whereas like this, even though it's not flawless and perfect, even though like there's like some parts of it where I'm like, "Okay, like I, you know, I'm could be better, could be improved, at no point does it ever take me out of the movie.

[00:21:52]At no point do I ever look at any of the makeup and prosthetics and think like, oh, I don't believe what's happening in the context of the film." This is a film where they were conscious of what their own limitations were and they crafted the story around that because you can make a terrifying [ __ ] movie based on relationship dynamics, right? You don't need like gigantic set pieces or, you know, extremely complex special effects.

[00:22:15]You can have something that's held back and reserved and still have it be just as, if not more effective. Another thing that was cool about watching this a second time, having the context of certain dynamics in the film that get revealed as the film goes along and then watching the film again with that context, the main character's male friend. We learn later in the film that he was actually having like an on andoff thing with Nikki, that they had some sort of relationship with each other, whether or not it was like emotionally serious, but they were at least like [ __ ] sometimes. When this character tries to interact with the main character and talk to him about like the party or whatever that he's inviting him to, the main character asks, "Oh, wait.

[00:22:52]Why can't she be there? Why does it have to be just me?" And you can see his friend not respond right away. he like has to think about it for like a second and then when he does he like scratches his fa he goes like like as he's delivering the next line. You know, touching your face is a very common thing to do when you're like nervous, right? And it's associated with lying.

[00:23:11]And the excuse that he gives is well because you know people have seen you and it's kind of clear Nikki's going through something and it's a bad look.

[00:23:19]You're like taking advantage of her. But what he probably wanted to say or what he probably was thinking in terms of his own motivations that he didn't want to reveal was that it made him uncomfortable because he has feelings for Nikki. And so that's a cool detail that you can pick up on a second watch.

[00:23:32]And then also when you watch this film for the first time, there's an implication about how things are and what the dynamics of these characters are before it really explicitly reveals anything. There's an implication. And so the expectation is that this main character like he's lonely, pathetic, or whatever, and that Nikki couldn't possibly like him. But if you watch their conversation, she never says anything that would really imply or explicitly say that that would suggest that she's not interested in him. The things she says are like, "Okay, you need to tell me like now. Do you have feelings for me?" And sure, like she's not clear that she likes him, but I think it is implied and I'm pretty sure the director said somewhere that that's his cannon is that like she actually did like him and was just waiting for him to say something and then he never even needed to use the one wish willow cuz she kind of walks away frustrated, not because he reveals his love for her, but because he never does because he's too cowardly to because he doesn't say things when he had the chance. And so things might have worked out if he was just like [ __ ] honest. if he was able to just not let his emotions and insecurities get the best of him, which is essentially what really the premise of this movie is throughout. Antifa Catboy, you didn't think she seemed that into him. Watch it a second time cuz it becomes more apparent how things are orchestrated. It's really clever, actually. And everybody's talking about her, but she does a [ __ ] phenomenal job. Incredible job. And people are talking about her as if she should get an Oscar nomination. And realistically, I think she should. Not that she will.

[00:25:01]if we're to judge like the best performances of a year, like there's no reason why she shouldn't be a strong contender because her performance does a lot for this movie. But also, I want to make absolutely clear that her performance is not carrying the movie.

[00:25:14]It's not like the movie is a bad movie without her performance. And also, her performance, you know, not trying to discredit her at all, cuz it's [ __ ] incredible. Her performance only also exists with the collaborative efforts and with the director having such a clear communication of what type of film these people are in because something that not a lot of other people are mentioning, all of the other characters also know exactly what movie they're in.

[00:25:37]His performance is also perfect for the movie. Like everyone's performance is perfect for the movie. Even though what her character is doing demands more from her performance, everybody else is also like incredible. And it's not to suggest like that the same performance would work in another movie because again this film has a weird heightened something is wrong, something is off feeling to it.

[00:26:00]And that also might be why I'm kind of reminded of Silent Hill cuz Silent Hill tonally has that feeling. There's almost like a a comedic patheticness to this character and how he's portrayed. And again, it does not take away from the seriousness at all. Oh, here's another thing I almost completely forgot. Notice this on your second watch. This is like a [ __ ] Michelle Hanukkah cache type edit here actually. So him going to the store in the first place is only because he's on the phone with her and she just like out of nowhere completely unprompted says like ah my crystal fell down the drain or something.

[00:26:33]>> I remember it feeling like weird cuz it was so unprompted in the way that she just said that. She just said that out of nowhere. Very next scene, new location, we cut to the woman working at the store where the main character is about to look for some crystals and he finds the one wish willow. Very first thing that we see the woman working at the store say is, "Now, why would she even say that?" Very first thing we see that is the filmmaker making us ask that question about what we saw in the previous scene. her talking on the phone and saying that line like that's an intentional explicit line to appear literally just at the beginning of that scene right after we hear Nikki say that for like literally no reason. The very next thing we see is a woman saying now why would she even say that? I think that's another clue of like perhaps Nikki wanted some attention from him or wanted some sympathy or perhaps she did want like a present or something. I don't think she ever explicitly asks him to replace it, but I think the film is very much trying to get us to ask those questions at the very least. And again, it's really cool. And this is another choice that supports and encourages the idea that the director is manipulating in a way that doesn't feel cheap, in a way that is self-aware, in a way where he is not hiding the fact that he's doing this. It's very, very cool. And I loved this movie so much. Got to clap for that.

[00:27:50]>> Got to clap for it. Got to clap for it.

[00:27:52]>> Very cool.

[00:27:53]>> Very cool.

[00:27:54]>> Oh yeah. I love how [ __ ] crazy and wacky and silly the film gets at the end. The only real like tiny tiny issues that I could imagine having with the film are like when his friend comes back and he's like, "Yo, this is a billion dollars." It kind of feels like a weird inconsistency in the continuity of the film. But again, with this film at that point in time especially being so [ __ ] like chaotic, like bam bam bam bam bam, like they're fitting a lot into a small amount of time and the inherent silliness of it too, I don't think that that ruins the film in any way for me.

[00:28:24]And also like the dead cat keeps like popping back up. It's like I have to create like a head cannon of maybe the main character put it in the fridge or freezer because he didn't know what to do and he was like, "Oh well maybe I want to like cremate it later." Like I'm assuming he didn't bury it. I have no idea. That's my head cannon. He put it in the fridge or the freezer cuz he didn't know what to do. I love how [ __ ] bonkers and fun this movie is.

[00:28:46]It is fun in multiple ways on multiple layers where I can just appreciate what it's doing and be there for the ride and it's beautiful. It's beautiful and disturbing and I I absolutely love it. N out of 10. N out of 10 for me.

[00:29:00]Incredible debut feature. I checked out the chair which is his short film on YouTube and it was good but like this is the gigantic step up from that. Some people were telling me to check out the found footage film that he made. So, I guess that one's technically feature length, so this might not be a debut feature, but feels like a pretty significant departure from making YouTube [ __ ] I guess. And again, I just talked to Joel Haver recently about the perceived legitimacy when it comes to where you publish your films. Damn. Wish I saw this at TIFF. And Jason Blum, I swear to [ __ ] God, he might actually not be in charge of this decision, but I swear to [ __ ] God, if you don't release the uncut, unrated version of this, I'm going to [ __ ] vore someone.

[00:29:41]Okay? And you don't want to see that. I don't want to see that. That's not my thing at all. But I'm going to have to do it if that doesn't get released.

[00:29:47]Okay, there better be a [ __ ] 4K Blu-ray. And I better see that entire sequence because [ __ ] the MPAA. [ __ ] the MPAA with a cactus. Could you imagine if they rated things like the [ __ ] Canadian system? We would get less censorship. Like, what the [ __ ] Why are we You can't have gore longer. You can't have the same gore but longer. Like there's no [ __ ] way that any of those dinosaurs sincerely believe that having seven more hits or seven more seconds or whatever of Sarah's death. There's no way that any of those [ __ ] at the MPAA sincerely believe that like oh yeah you can't like that's the line. That's the line actually. Like they just wanted to censor it. They're like that's in poor taste. That made me feel bad. They just wanted to censor it. That's all they wanted to [ __ ] do. So, Jason Blum, focus features. Whoever the [ __ ] is in charge of this, release the uncensored, unrated cut somewhere. Or Curry Barker, give me a [ __ ] screener or something.

[00:30:46]Okay, I just want to see it. But it would be nice if everybody else could see it. All right, thank you. Peace.

[00:30:51]Bye-bye.