This transcript was automatically generated and might contain errors.

[0:15] Jesse McAnally: Hello, I'm Jesse Mack and Alley.

[0:17] Alan Seales: And I Mellon Seals.

[0:20] Liz Eston: And I'm Liz Eston.

[0:21] Jesse McAnally: And welcome to Carrey'd Away, a podcast where we explore the films and television shows starring the one and only James Eugene Carrey.

[0:30] Alan Seales: And this one may as well not be a film with him in it, but he yeah, can't deny he's there, but blink and you'll miss him.

[0:39] Jesse McAnally: I almost did.

[0:40] Alan Seales: Um this yeah, literally.

[0:44] Jesse McAnally: But I went the whole movie without blinking, though. So I was okay. Anytime Bernadette Peters was on camera, I was into it.

[0:51] Alan Seales: I was watching the screen. I was completely engaged.

[0:55] Jesse McAnally: Which is the reason why I'm gonna be slightly more positive toward this one than we are our previous Jim Carrey Clint Eastwood collaboration.

[1:03] Alan Seales: This week we are talking about the very strange, I would call it road movie, action movie, white supremacy movie, Pink Cadillac.

[1:14] Jesse McAnally: Clint Eastwood is a fugitive hunter, and he's full of surprises and disguises in Pink Cadillac.

[1:21] Alan Seales: Clint Eastwood, Bernadette Peters, a wild pair on a fast ride.

[1:29] Jesse McAnally: Didn't anyone ever tell you you shouldn't mess with a man's vehicles? Pink Cadillac.

[1:35] Alan Seales: So Pink Cadillac is a film released on May 26, 1989, written by John Escow and starring Clint Eastwood and Bernadette Peters, directed by in the biggest quotation marks I can afford, Buddy Van Horn.

[1:50] Jesse McAnally: The plot is Skip Tracer, Tommy, played by Eastwood, looks for a bale jumper, Luann, played by Bernadette Peters. Her crime is marrying Roy, who left counterfeit money in their mobile home, and he got her arrested.

[2:03] Alan Seales: She leaves Roy in his pink Cadillac full of money. His psycho friends want their money back. And yeah, that's about it. We're we're on a it's like the lamest madman, madman world chase in the world.

[2:15] Jesse McAnally: It's like it was one way to describe those friends, but okay.

[2:18] Alan Seales: It's weird. Like they're all weird.

[2:19] Jesse McAnally: All of the friends are weird.

[2:21] Alan Seales: Are you laughing at my delay? Are you internet delay laughing?

[2:25] Jesse McAnally: A little bit.

[2:26] Alan Seales: So Alan's got shitty intermediate internet today.

[2:29] Jesse McAnally: Yeah. So it's gonna be like Alan reacting to us 15 minutes after we said a thing throughout the So see if you can keep up with the conversation at home, kids.

[2:37] Alan Seales: Yes, good luck.

[2:39] Jesse McAnally: I will say this is Clint Eastwood bringing in a lot of Jim Carrey energy.

[2:45] Alan Seales: I can s previously we brought up how Jim Carrey would say he was inspired by Eastwood, and we I didn't see it. In this movie, I really see a lot of Jim Carrey in Eastwood's performance and a lot of things that Jim Carrey would take, specifically in like the weird voices and costumes he would put on, which was charming.

[3:02] Jesse McAnally: Eastwood is fairly good in this movie, as much as it pains me to say.

[3:09] Alan Seales: Yeah. I don't think he can pull it off, frankly.

[3:11] Jesse McAnally: I mean, I it was like the near the end of the movie when I was like, wait, this isn't a Dirty Harry, because he's got one mode. He's got acting mode and then not acting mode.

[3:20] Alan Seales: It's a f it's a switch on or off.

[3:22] Jesse McAnally: Yeah, this is Dirty Harry's cousin.

[3:24] Alan Seales: Right.

[3:26] Jesse McAnally: Yeah, no, he's not. I just made that up. But they act exactly the same, so they might as well be related.

[3:31] Alan Seales: Yeah, like if you just came in and he's like a little more racist.

[3:33] Jesse McAnally: Lucky Jim Carrey.

[3:35] Alan Seales: And then, you know, that would have been like.

[3:39] Jesse McAnally: I don't know if it's a good one.

[3:40] Alan Seales: No, he does. He's gonna be able to do that.

[3:41] Jesse McAnally: He does the Jim uh Elvis Presley impression.

[3:44] Alan Seales: No, he doesn't talk what he does. He doesn't like makes the face. He puts his arms in his shirt and he does like the Bumblebee sketch that he did for his SNL audition that got him rejected.

[3:52] Jesse McAnally: Wait, wait, wait, wait, wait. Tell me about his SNL audition.

[3:55] Alan Seales: It was in this movie. His SNL audition is the performance he's putting on in the background.

[4:00] Jesse McAnally: I'm not even making this up. His I think it was like what if Elvis was a Bumblebee and he made his arms short, and that was the bit.

[4:08] Alan Seales: And forget that crap. Get on with the stuff that got you expelled.

[4:11] Jesse McAnally: That's when I had to bring out the big guns. People like post nuclear Elvis.

[4:43] Alan Seales: I think the thing about SNL auditions, not to go on a deep tangent, is they are rarely seen as selling in a vacuum because they're trying to market people that will play off of each other. Like there can be some great solo auditions, but they don't see how that will work with an ensemble.

[4:59] Jesse McAnally: And as someone that has had uh have multiple auditions for multiple different things, it it does become a challenge when you have like this incredible audition, but you just don't see them meshing well with the rest of the tone and style and group that you have.

[5:12] Alan Seales: Which I think is probably the thing with Jim Carrey where he kind of sucks up an entire room as opposed to complimenting others, which we'll talk about soon within Living Color, and was a lot of his appeal and a lot of the reasons why he wasn't always used to the most benefit.

[5:28] Jesse McAnally: Also, uh, I checked his SNL edition. It's not Bumblebee Elvis, it's post nuclear Elvis.

[5:33] Alan Seales: Oh.

[5:34] Jesse McAnally: So much more.

[5:37] Alan Seales: Maybe that's what I'm saying. And he's doing that bit. And he put he said, No, SNL, if you're not gonna let me do it, my buddy Clint's gonna let me do it in the background of his weird little catalog movie with Bernadette Peters.

[5:49] Jesse McAnally: I will have my uh post-apocalyptic Elvis big live on beyond. I will! I'm gonna do it! My name's Jim Carrey. And I'm not even sorry about it.

[5:57] Alan Seales: I'm not sorry. Look at the T-Rex Elvis arms.

[6:04] Jesse McAnally: I mean, but he still got it. He did, it is very distracting. He is the button of that scene.

[6:10] Alan Seales: Uh Peters like, I don't like this Elvis impersonated, and then he's like doing the Elvis thing.

[6:21] Jesse McAnally: Not exactly.

[6:23] Alan Seales: You mean not exactly?

[6:24] Jesse McAnally: Who the hell are you?

[6:25] Alan Seales: I'm a skip tracer, Mrs. McGwen. I work for the bailed godsman who put up your bond.

[6:35] Jesse McAnally: Why the hell didn't you just have your husband and some of his friends put up the money?

[6:39] Alan Seales: After your fellow show.

[6:42] Jesse McAnally: Look, if it's taking me back, let's get going. I can't take much more of this Elvis tribute.

[6:47] Alan Seales: I'm really gonna run an album, okay?

[6:49] Jesse McAnally: Oh my gosh.

[6:53] Alan Seales: And then the scene ends.

[6:55] Jesse McAnally: Yeah. And then we had to watch the rest of the movie.

[6:57] Alan Seales: Yeah, and that's it, like 35 minutes into the movie. This movie's like an hour and fifty minutes.

[7:02] Jesse McAnally: So it is an hour for a little too long.

[7:05] Alan Seales: It is too long.

[7:05] Jesse McAnally: Yeah.

[7:06] Alan Seales: I liked it.

[7:07] Jesse McAnally: I I hate to be that that guy. I felt I was really compelled by Bernadette Peters, that's our lead character. I felt her strife.

[7:12] Alan Seales: I f understood what she was doing and why she was doing it.

[7:17] Jesse McAnally: Um and she was never looked down as like white trash. They were never like really objectifying her. Uh like you just kind of felt sorry for her, and she felt empowered throughout most of it.

[7:27] Alan Seales: Even when she was like under the care of Clint Eastwood, she still felt like a driving player in the story, as opposed to someone following along.

[7:35] Jesse McAnally: Liz is making faces like she disagrees with me, so I'd really like to hear that.

[7:40] Alan Seales: I I'm with you on most of it for until to the moment they sleep together.

[7:45] Jesse McAnally: Yep.

[7:46] Alan Seales: Then I lose any anything I have for her, basically, because now she is the younger woman Clint Eastwood sleeps with in almost every goddamn movie he makes.

[7:57] Jesse McAnally: And I make that.

[7:58] Alan Seales: Don't forget the mule where he has a th two threesomes with the city.

[8:01] Jesse McAnally: He is two threesomes in the mule, I know. And I want to see the mule only for that reason, frankly.

[8:06] Alan Seales: But like Don't call me Frankie. It's like I remember watching the Deadpool thinking I pray I don't see him sleep with Patricia Clarkson on screen.

[8:14] Jesse McAnally: Like, please don't sleep together on screen.

[8:17] Alan Seales: And they don't sleep together on screen.

[8:19] Jesse McAnally: It's implied, but it's like, okay, good. I didn't see him to see her have sex with him. Great.

[8:24] Alan Seales: We don't see them have sex in this either. In fact, he's he's one of those guys.

[8:28] Jesse McAnally: No, you go.

[8:28] Alan Seales: No you go.

[8:30] Jesse McAnally: No, you go.

[8:38] Alan Seales: Chaos, pure chaos.

[8:39] Jesse McAnally: Um what I was saying is we don't see them have sex. She just kind of crawls into bed with him. Uh at first it just felt like human companionship. I'm going through a rough thing. It didn't feel sexual to me until the next time we see them and she's naked and they're making out in bed, and I I was fine with the companionship thing.

[8:55] Alan Seales: As soon as I saw them naked and kissing, I was like, Oh fuck this. Fuck this. Fuck that.

[9:01] Jesse McAnally: Although credit to him, Clint Eastwood was in pretty decent shape for being 905.

[9:06] Alan Seales: Yeah, I don't know how old he was in this, but he looked fine.

[9:08] Jesse McAnally: Well, how old is he now? We can do some math.

[9:10] Alan Seales: We could do math.

[9:11] Jesse McAnally: Um how hey Siri, how old is Clint Eastwood?

[9:14] Alan Seales: Why are you yelling at me?

[9:16] Siri: He is 93 years old.

[9:17] Alan Seales: Thanks, Siri.

[9:18] Jesse McAnally: But he's 93 now?

[9:19] Alan Seales: There's no way he's 93 now.

[9:20] Jesse McAnally: He's 93 now.

[9:21] Alan Seales: No, he's 93.

[9:23] Jesse McAnally: So he was like 63 when this movie came out.

[9:27] Alan Seales: He was born in nineteen thirties.

[9:28] Jesse McAnally: Holy cow, he was born right in the Great Depression.

[9:32] Alan Seales: Jesus.

[9:32] Jesse McAnally: His entire life has been a Great Depression.

[9:34] Alan Seales: Yeah, it really has. I mean, if you think about his career, like he was working with Sergio Leone and all those those folks.

[9:41] Jesse McAnally: Um he's his career goes all the way back.

[9:43] Alan Seales: So he's a good one. I mean, for whatever reason, when I search for Clint Eastwood, it also says people also search for Harrison Ford, who surprisingly is 81.

[9:51] Jesse McAnally: He's a young whippersnapper compared to uh cold Clint Eastwood here.

[9:55] Alan Seales: Do you remember when Clint Eastwood um put a chair on stage and pretend it was Barack Obama and just started berating him for like the his policies?

[10:05] Jesse McAnally: How do you uh how do you handle uh how do you handle promises that you made when you were running for election? And how do you handle uh how do you handle it?

[10:16] Alan Seales: I mean, what do you say to people? Uh do you uh do you just uh, you know, I know people uh people were wondering you don't have it.

[10:28] Jesse McAnally: Okay.

[10:29] Alan Seales: Well, I know even some of the people in your own party were very disappointed when you didn't close Gitmo. And I thought, uh, well, I think get closing Gitmo, why close that we spent so much money on it? Uh but uh uh I thought maybe it's an excuse.

[10:45] Jesse McAnally: Oh what do you mean shut up?

[10:49] Alan Seales: Yeah, whenever I watch Clint Eastwood movie, I think about that. That's like all I think about.

[10:52] Jesse McAnally: It's the funniest thing on the planet.

[10:55] Alan Seales: I don't remember. It was from the 2016 RNC or is it earlier?

[10:59] Jesse McAnally: No, no. It was 2012. It was the Obama re-election.

[11:04] Alan Seales: Wait, wait, wait. Is Eastwood a MAGA Mega Thumper?

[11:07] Jesse McAnally: Oh, hard. Oh, 100%.

[11:08] Alan Seales: Oh no, Eastwood. What little respect I had for you is gone.

[11:13] Jesse McAnally: You couldn't tell by all the N words in his films.

[11:16] Alan Seales: Yeah. I only had white people say.

[11:18] Jesse McAnally: Well, this was 89. I'm not I'm not, you know, saying it was right in the first place, but 89 you could sort of get away with that, even though you shouldn't have tried.

[11:29] Alan Seales: Yeah. Um I mean to Bernadette Peters, look at The Jerk with Steve Martin, that is considered a classic. And they say the N-word in that movie way too many times.

[11:38] Jesse McAnally: Um so I get what Alan's trying to say there. Um I do a I understand like different times, different societal norms.

[11:44] Alan Seales: The term the N-word was was never used in like local parlance until the 90s with the OJ trial.

[11:52] Jesse McAnally: That was the time they popularized calling it the N-word because they were trying to get that word not spoken into the trial.

[11:58] Alan Seales: That was Chris Gar Darden's uh famous term. So that was when the American public as well as news outlets stopped using that word in quotation marks or quoting other people. They would always refer to it as an exploitative of the N-word.

[12:14] Jesse McAnally: That's why there are so many videos of the 80s of people like Joe Biden and Bill Clinton and folks like that using it freely.

[12:21] Alan Seales: It was I won't say it wasn't as taboo, but it was not as boarded off for people to say. Not saying that it shouldn't have been. I just find that interesting that we don't call it the N-word until the nineties.

[12:31] Jesse McAnally: You mean the actual phrase, the N-word.

[12:31] Alan Seales: Yes, yes.

[12:31] Jesse McAnally: Phrase the N-word was made and coined in the O.J. trial.

[12:38] Alan Seales: I did not know that.

[12:39] Jesse McAnally: So once again, Mark Furman ruined American society.

[12:43] Alan Seales: Movies like this that really kind of idolize the police and police presence and all of that really makes me feel ill, but since he is not technically a police person, he's kind of just working for a bondsman.

[12:56] Jesse McAnally: I was kind of behind him.

[12:58] Alan Seales: Yeah. You're right. You're right. It's just kind of like it's what he does. Like that's that's Eastwood's shtick is to put himself in the movies where he's avenging justice. But it's his version of justice.

[13:11] Jesse McAnally: Yeah, as he sees it.

[13:12] Alan Seales: Yeah, his version of justice.

[13:14] Jesse McAnally: Not good. Um famously, uh, Batman is based on early interpretations of Clint Eastwood in like Westerns.

[13:23] Alan Seales: Clint Eastwood films predate Batman. Think about that for a minute.

[13:26] Jesse McAnally: Um, that's why Batman talks like this.

[13:28] Alan Seales: It is. Um, Eastwood Batman. Have either of you seen Gran Torino, um, one of Clint Eastwood's later films?

[13:37] Jesse McAnally: I haven't, but I've heard it's like not terrible.

[13:41] Alan Seales: Um, not terrible. I think there's a lot of comparisons to be made between that film that is also named after a car and features a lot of unpleasant racism, and this film that also has the name of a car that features a lot of unpleasant racism. Where in that film, Clint Eastwood is just an old man whose wife died, the beginning of Up, basically. Um, and a bunch of Asian people move in next door to him, and he's like super duper racist. But then he falls for them, and then apparently an Asian gang comes and starts hurting them, and he does vigilante justice on them and saves the day. The white man saves the day. But in the meantime, he says every racial slur in existence.

[14:23] Jesse McAnally: Well, I think you're an overeducated 27-year-old version. There's a Mexican, a Jew, and a colored guy go into a bar. The bartender looks up and says, "Get the fuck out of here."

[14:34] Alan Seales: There you go, there's a lot of movies that don't hold up anymore around that kind of thing that, you know, your parents don't see anything wrong with, but obviously we go back and rewatch with them and we're like, "mm mm." It's interesting, like, yes, I agree, like time change, all that kind of stuff. But I still, there are still things in this movie, Pink Cadillac, that I am very impressed by.

[14:55] Jesse McAnally: The car chases are extraordinary to watch. The actual fact that both actors are in a car at the same time and performing these stunts and doing all these things is pretty impressive. Like, every time a car crashes into something, a real car had to crash into something, and goddamn it, that's pretty neat to watch. Um, I don't see that enough in just normal, like mid-tier budget films like this anymore.

[15:20] Alan Seales: As well, I really, I was engaged and cared about the mother trying to find her child again, which, you know what? I felt really compelled by that, and Bernadette Peters does a good job playing that without getting too melodramatic. Um, although I did get a lot of anxiety every time that baby is just sitting in someone's lap in the front seat, and it's just a real baby actually being driven around in the front seat. I did not like that.

[15:51] Jesse McAnally: No, but remember, like, I grew up in the 80s and 90s where seat belts were just a recommendation.

[15:56] Alan Seales: Right. Um, speaking of car though, I did look this up that Thelma and Louise came out in '91. They drove a 1966 Ford Thunderbird. So I was just, I thought one copied the other, maybe stylistically, but they are different cars. Thelma and Louise didn't have a Cadillac.

[16:15] Jesse McAnally: I do want to kind of round up B-list actors that maybe you recognized in small scenes. I'm sure James Cromwell came across pretty obviously, the farmer from Babe and many other things. Um, he was the hotel owner that ratted them out at the car wash.

[16:34] Alan Seales: Oh, you up already? I was just gonna bring you some bananas for your morning lua.

[16:40] Jesse McAnally: Oh, thanks. We'll take a rain check. My name is Tom Noick, and I'm a court-appointed officer from the state of California. We're looking for this man here.

[16:48] Alan Seales: That sounds like sort of a nerve-wracking job. Sure hope I can help you out. Um, this man stayed in my motel not more than three or four weeks ago.

[17:02] Jesse McAnally: And then we have Canadian singer Bryan Adams as the gas station attendant. Wild thing that just happens. Bill Mosley, who you will know from a lot of horror films, played one of the white supremacists, Daryl, as well as William Hickey, who we all watch every year in Christmas Vacation as the grandfather, played the landlord that gave her her money back in the first scenes. Also, Dirk Blocker’s in this movie.

[17:31] Alan Seales: Oh shit, you're right. Yeah, he plays policeman number one, so like unimportant, but he's in it.

[17:37] Jesse McAnally: He's got a credit.

[17:38] Alan Seales: Yeah, he's in it. He's got a credit more on screen than Jim Carrey is.

[17:41] Jesse McAnally: Yeah.

[17:41] Alan Seales: So we're lying. I am so sick of this city. I go into a coffee shop, and as soon as everybody sees that I'm a cop, they stop talking and they avoid eye contact with me. One lady even walked out. I am just so tired of being treated like the enemy.

[17:55] Jesse McAnally: Hey, Hitchcock. Your penis is hanging out.

[17:57] Alan Seales: That's true. But there is a fascinating amount of human beings that just kind of, you know, would become something bigger later in small roles. Um, so that's a continuing nature of these films that most of the world have forgotten that we get to revisit and see a lot of folks of where they started. But I'm wondering what the real critics thought. Um, specifically, let's take a look at our critical corner.

[18:20] Jesse McAnally: Roger Ebert had some thoughts about this film, and Liz, you pulled this wonderful quote for us, so I'm gonna read that off. Um, so Roger Ebert, uh, the critic for the Chicago Sun-Times, said on May 6th, 1989, "The whole progression of the romance between the skip tracer and the woman has been seen many times before, and Eastwood and Peters do not seem to feel or express a convincing bond."

[18:42] Alan Seales: Hard agree. Indeed, the whole life of the Peters character is so artificial that it would be amazing if we did feel chemistry. This isn't a real woman, so how can she have real feelings?

[18:52] Jesse McAnally: What the fuck, man? Um, what really bothered me though was that the white supremacist army. I can imagine and have seen serious movies about outlaw racism in America. But to use a racist army as material for the villains in a light little action comedy seems inappropriate.

[19:08] Alan Seales: Hard agree, but like well said, Mr. Ebert. Um, you have a lot of wild takes sometimes. Watch old Siskel and Ebert reviews. He will say the most outlandish bullshit just to win against Siskel, and they're horrendous criticisms if you actually think about it more than five seconds. This one he's writing the money. It is inappropriate. It doesn't feel right. Especially for something that's supposed to be popcorn entertainment.

[19:36] Jesse McAnally: And not necessary to the overall narrative, you know, because this film doesn't want to talk about white supremacism. It doesn't want to do any of that. It's just a good shorthand for saying bad guy is really bad. And so you can watch Clint Eastwood kill them and be like, "Yay, he killed the white supremacists. Yay."

[19:54] Alan Seales: Honestly, the only person I—

[19:56] Jesse McAnally: Oops, sorry, Alan.

[19:56] Alan Seales: No, you go.

[19:56] Jesse McAnally: No, no, no, you go.

[19:59] Alan Seales: No, you go.

[20:00] Jesse McAnally: Okay, Alan, you go.

[20:02] Alan Seales: Did you think back to all of the Clint Eastwood movies, which I know you've watched all of them? Is there any movie where you have been able to say, "Oh, that's convincing chemistry," or is it just Clint Eastwood?

[20:15] Jesse McAnally: Which one?

[20:15] Alan Seales: Yes, yes, yes.

[20:16] Jesse McAnally: Bridges of Madison County, directed by Clint Eastwood, starring him and Meryl Streep.

[20:20] Alan Seales: Meryl Streep is the person he is capturing with, I'm presuming?

[20:22] Jesse McAnally: Yep.

[20:23] Alan Seales: Okay. I mean, it's Meryl. You can't go wrong with that.

[20:25] Jesse McAnally: I know.

[20:25] Alan Seales: Yeah, but you can't really quite.

[20:29] Jesse McAnally: It's a young Bernadette. Maybe she hadn't, she hadn't, I don't know.

[20:32] Alan Seales: I don't know. I'm trying to, I'm just trying to talk out of both sides of my mouth.

[20:34] Jesse McAnally: Don't, no, no, you go.

[20:35] Alan Seales: No, you go.

[20:36] Jesse McAnally: You go.

[20:37] Alan Seales: This was the same year she did Into the Woods, too.

[20:39] Jesse McAnally: Like this—

[20:40] Alan Seales: Really?

[20:42] Jesse McAnally: Oh wow. That was like her Ariana DeBose 2020 year. She just did a bunch of stuff at once and shot out of a cannon. Um, 2022, 2020.

[20:53] Alan Seales: I'm pretty sure The Jerk was 1979.

[20:55] Jesse McAnally: So she was already kind of already in the mainstream. And then of course, she had a habit of not being in the best films of all time during her reign. I think she was great at theater.

[21:06] Alan Seales: Who the fuck set her up to be at Heartbeeps of all films? Do you, does anyone else remember that nonsense?

[21:12] Jesse McAnally: Alan, if I showed you the poster for Heartbeeps, you might have an aneurysm.

[21:18] Alan Seales: Oh no.

[21:18] Jesse McAnally: Turn your head around.

[21:20] Alan Seales: I don't want to say he's dim-witted, but he makes an electric toothbrush look like a genius. Look at him. My function? To serve as companion and family. Being programmed for charm was probably an extra expense.

[21:34] Jesse McAnally: This is Aquacomb. She was popular mechanics playmate of the month for June 1994. Get a load of those components. Wowie wow.

[21:49] Alan Seales: Andy Kaufman. Bernadette Peters in Heartbeeps. Coming this Christmas. So I says, "I don't care who you are, Fatto. Get those ranges off my room."

[22:00] Jesse McAnally: What the actual what? That was an Andy Kaufman film. Like that was his passion project. He really wanted to make a film about Tony Clifton, his alter ego, but he made Heartbeeps instead. And Heartbeeps is a horrendous to look at monstrosity that no one can find any joy in. But it is an interesting fact that Jim Carrey would later go on to play Andy Kaufman in the film Man on the Moon, and no mention of Heartbeeps has been made.

[22:29] Alan Seales: I mean, there's a lot of different—oh, comedy classics, there's a different poster for this. All of them are terrifying. Maybe as a pairing with our Man on the Moon episode, we have to do a spin-off Heartbeeps episode to talk about Andy Kaufman's one big feature film.

[22:46] Jesse McAnally: Oh god.

[22:47] Alan Seales: I feel you're gonna make me watch that?

[22:49] Jesse McAnally: I mean, how can I not after this setup?

[22:52] Alan Seales: Alright. Before this, she was in The Jerk. She was in the Annie film. She was in The Longest Yard. She had a film career, and Heartbeeps. Um, so this was, I'd say this is pretty late in her film career, to be honest. This is like when this isn't like her hitting year. This is like her comeback year.

[23:10] Jesse McAnally: Her first film was in 1973.

[23:13] Alan Seales: Really?

[23:14] Jesse McAnally: And she was in the original Longest Yard in '74. And then she was in Pennies from Heaven in '81.

[23:21] Alan Seales: Horrendous movie.

[23:22] Jesse McAnally: Annie in '82 is just mentioned. And then she didn't do a movie until Sleighs of New York in '89, which is the same year as Pink Cadillac.

[23:31] Alan Seales: Has she been in any film that you would consider a classic?

[23:34] Jesse McAnally: Beauty and the Beast, The Enchanted Christmas?

[23:37] Alan Seales: No.

[23:37] Jesse McAnally: She's 75.

[23:39] Alan Seales: Barney's Great Adventure.

[23:40] Jesse McAnally: She's 75. Uh, she is sing she sings the title song, so I'm cheating.

[23:45] Alan Seales: That was Bernadette Peters.

[23:46] Jesse McAnally: Okay, what the fu—oh, you are unpacking. I remember the title song. I heard it in my head.

[23:51] Alan Seales: I had no idea that—

[23:51] Jesse McAnally: Play that clip right here.

[23:56] Alan Seales: It does not sound like Bernadette Peters.

[23:58] Jesse McAnally: It's Barney. The dinosaur comes knocking.

[24:03] Alan Seales: On your front door just go and play with her. Find your way with you to the world of imagination.

[24:17] Jesse McAnally: Oh Barney.

[24:19] Alan Seales: Oh no, Bernadette Peters.

[24:22] Jesse McAnally: No worries like that.

[24:23] Alan Seales: So you're saying that she's 76 years old.

[24:25] Jesse McAnally: Um, looks incredible. She's about to be 76 on February 28th. This probably won't be out, but this will be out after, probably, actually.

[24:35] Alan Seales: Alright, so she's 76 at the time that you're hearing this.

[24:38] Jesse McAnally: Not at the time we're recording this.

[24:39] Alan Seales: Yes. Uh, yes. Hopefully. Just I saw her.

[24:42] Jesse McAnally: Steve Martin, Toronto. Carol Burnett is 90. Where did all these people get old from?

[24:49] Alan Seales: Age.

[24:49] Jesse McAnally: You know, this age. Time, it happens.

[24:51] Alan Seales: Oh man. God. Alan, you have children. You should know this.

[24:54] Jesse McAnally: I know. I know. But they, I stay the same age. Everybody else gets older.

[25:00] Alan Seales: And I'm getting older too.

[25:04] Jesse McAnally: Um, makes you bolder. Children get older.

[25:15] Alan Seales: Yeah, Bernadette Peters has not been in a single, like, great movie. I think the closest thing she's done is The Jerk as like a proper classic film.

[25:24] Jesse McAnally: She's one of the Land Before Time sequels.

[25:26] Alan Seales: Yeah, okay. You're throwing films that I would not consider classic films.

[25:29] Jesse McAnally: I know, and I just wanted to point that out that she's in the great long neck migration for the world.

[25:34] Alan Seales: Long neck. Truly, the only like film that people really look back fondly on is the Cinderella remake, uh, the 1997 one.

[25:43] Jesse McAnally: That's great.

[25:44] Alan Seales: Fair. I mean, we're digging into obscure credits as voice animation sequels. I don't think there's a lot to talk about in Pink Cadillac with Jim Carrey.

[25:54] Jesse McAnally: No, no, obviously not. But uh, we're not real critics. Do you know who the real critics are? The people over on Letterboxd comes to wait for the letterbox game.

[26:06] Alan Seales: Alright. Liz, what do we got?

[26:09] Liz Eston: We got stuff.

[26:10] Jesse McAnally: Alright, um, Jess, you're gonna go first.

[26:14] Alan Seales: Look at that. She's taking charge today. I like it. I've listened to myself do this a lot, and I don't take charge enough, so I'm going to start taking charge around.

[26:21] Jesse McAnally: Hell yeah. So you are the best news. Take charge. This is your podcast. Jess, are you ready?

[26:27] Jess Eston: I am.

[26:27] Jesse McAnally: Jesse is. This was not nearly as misogynistic as I was expecting.

[26:31] Alan Seales: That sounds like a five.

[26:33] Jesse McAnally: That is a five. Wait, wait. Did you explain the rules? One star, five star?

[26:36] Jess Eston: Oh, I did it. Um, so I'm going to be reading Jess and Alan some letterbox reviews that are real letterbox reviews from the wonderful website for Pink Cadillac. They're one or five, and they have to guess purely on no context if it's a positive or a negative.

[26:52] Jesse McAnally: I think this is so funny if this is someone's first episode of this podcast. We start with a pink catalast.

[26:58] Jess Eston: I'm going pink cattle axe. That's my favorite movie. I love pink cuttle.

[27:04] Alan Seales: Was that Ronnie Dangerfield right there?

[27:06] Jesse McAnally: No. No respect. Um, are you ready?

[27:13] Jess Eston: Yes, I am.

[27:14] Jesse McAnally: It's one of those movies you either have to watch on VHS or late night or late at night on television.

[27:14] Alan Seales: On VHS.

[27:21] Jess Eston: Oh, oh, oh. Um that's a one-star.

[27:25] Jesse McAnally: That is a five.

[27:26] Jess Eston: No, I'm losing my touch!

[27:28] Jesse McAnally: Jess, you can't. Um barely. Jess, are you ready?

[27:33] Jess Eston: I am.

[27:34] Alan Seales: Alan, I am. There's no ending. No lie. Just offs.

[27:40] Jesse McAnally: Um, that is a one-star.

[27:43] Jess Eston: That is correct. Hey, I'm in. Uh I'm the best around.

[27:49] Alan Seales: Okay. Alright, are you re are you ready, Alan?

[27:52] Jess Eston: Alan, I am green eggs and ham.

[27:56] Jesse McAnally: His tits?

[27:57] Alan Seales: They were, though.

[27:58] Jesse McAnally: His tits. They were. Well, okay, you gave me a five-star last time. I'm going, I'm mommy milkers. I'm going one star this time.

[28:06] Alan Seales: That's a song.

[28:07] Jesse McAnally: No!

[28:09] Alan Seales: Zero for zero for Alan Seales. There's a there's a lot more than you'd expect for this movie, so you can make a comeback.

[28:16] Jess Eston: Alright, alright. Just like Kim Kardashian. Everyone loves a good comeback story, right?

[28:21] Alan Seales: Seabiscuit, the mighty ducks, Robert Downey Jr., uh whoever. Rocky, yes. Kim Kardashian.

[28:27] Jess Eston: Kim, well in the video she gets she gets come on her back, I think.

[28:35] Alan Seales: Alright, Jess, are you ready?

[28:37] Jess Eston: Alan, I can be.

[28:39] Jesse McAnally: I'm surprised this didn't win the Oscar for Clint.

[28:46] Jess Eston: Oh, I hope that's a joke.

[28:48] Jesse McAnally: Um, I'm gonna go five anyways. It's a lot.

[28:51] Alan Seales: Damn. That's pure sarcasm.

[28:55] Jess Eston: I I I got I got a touch of the chishm. I can't always pick up on that sarcasm.

[28:59] Jesse McAnally: Oh, you're good. You're valid. Oh god. Alright. Are you ready, Alan?

[29:03] Alan Seales: I land my expertise to this.

[29:08] Jess Eston: Yes.

[29:09] Alan Seales: I don't know what those words mean, but okay. Seeing Clint Eastwood trying to do characters is brutal.

[29:14] Jesse McAnally: One star, one star.

[29:15] Alan Seales: God damn it, it's one star.

[29:16] Jess Eston: That is correct. Yes, sir. Oh, he's he's pulling a Kim Kardashian. Let's go.

[29:21] Jesse McAnally: Yeah, he's gonna come with his back. Alright. Jess, are you ready? Do you need a minute?

[29:25] Jess Eston: No. Now I am.

[29:27] Jesse McAnally: Okay. Sniggins are shocked to find this pink.

[29:30] Alan Seales: Don't stay.

[29:31] Jess Eston: What? I want a pink in the stink Cadillac.

[29:34] Jesse McAnally: Um, that's a five.

[29:36] Jess Eston: That is correct. Jesus, y'all. Dirty. Inapproached.

[29:40] Alan Seales: I mean, it got he got some stink in the pink when the chicken shot all over the pink Cadillac.

[29:45] Jess Eston: That's true. The chickens do shit on the car at some point.

[29:49] Alan Seales: We did not mention that. James Cromwell let the chicken shit all over the car.

[29:53] Jess Eston: Yeah, to hide the card. He put it in a chicken coop. Inexplicably.

[29:57] Alan Seales: Yo, that's gross. He's a farmer in this, and just like Babe.

[30:00] Jess Eston: Just like Babe. Death Scrolls. So I've not seen Alan.

[30:03] Jesse McAnally: Jess.

[30:04] Alan Seales: No, Alan. This movie exists, which is weird because it probably shouldn't.

[30:09] Jess Eston: Hmm. That seems like a very obvious one star.

[30:13] Alan Seales: That's a five.

[30:19] Jesse McAnally: Alright. So I'm going to give Jess a tough. So much trickery. You're getting better with your your tone changes.

[30:27] Jess Eston: I can't. No, she has choices now. These are real movies now.

[30:30] Alan Seales: Yeah, no, the other ones I was scraping the bottom of a barrel. This one I can like work with multiple things.

[30:37] Jess Eston: Wait till we get to the popular ones. It's gonna get real tough.

[30:40] Alan Seales: Oh boy. Alright, I gotta up my game. Gotta up my game.

[30:43] Jesse McAnally: Alright, Jess. This one's real tricky.

[30:44] Jess Eston: I'm ready.

[30:45] Jesse McAnally: Get tricky. It's it's the review is just the letter X. That's the entire review.

[30:50] Jess Eston: So I'm gonna assume by like checking things off a list. Twice.

[30:54] Jesse McAnally: Yeah. I'm going one.

[30:55] Alan Seales: That's right. Alright, Alan, are you ready?

[31:02] Alan Seales: Alright, I'm taking this very seriously. I am ready. I am waiting. I am I await your your words in my ear holes.

[31:09] Jesse McAnally: This is not a movie about Clint Eastwood's dick.

[31:13] Alan Seales: Five star.

[31:13] Jesse McAnally: Five stars, that's a good thing.

[31:17] Alan Seales: This guy likes Clint Eastwood dick.

[31:19] Jesse McAnally: Apparently, he likes Clint Eastwood's dick. Damn it. Or she. I don't know.

[31:23] Alan Seales: I don't know the person who wrote this. I don't write Doctor.

[31:26] Jesse McAnally: There you go. Could be that yeah. Whoever this person is. This person likes Clint Eastwood dick.

[31:31] Alan Seales: Alright. Well, if it's you, write me. I want to know you're the person who likes Clint Eastwood. Call me beat me if you want to reach me.

[31:37] Jess Eston: Alright. Beat me, baby. You basically won, but there's two left, so let's just do all of them.

[31:42] Alan Seales: Come on. I'm ready.

[31:43] Jesse McAnally: Alan, you win a lot of these. Jess is allowed to have some glory.

[31:46] Jess Eston: Alright. Alright, Jess. I'm allowed.

[31:50] Jesse McAnally: Do your worst.

[31:51] Jess Eston: Eh, I mean. That sounds like a one.

[31:54] Alan Seales: That's a five.

[31:56] Jess Eston: Eh, I mean, okay. Alright. Alright. Alan.

[31:59] Alan Seales: Yes.

[32:00] Jesse McAnally: This is the last one. Okay. You can get this if you remember the previous ones.

[32:04] Alan Seales: Oh shit. I wasn't writing them down.

[32:06] Jesse McAnally: Yes. They're all connected. This is like the Zodiac Killer.

[32:09] Alan Seales: Wow, what a movie.

[32:11] Jess Eston: Oh no. I'm flip-flopping back and forth because now I know you're trying to trick me with tricking and telling me it's a trick, but now it's not a trick because maybe it's a trick.

[32:20] Jesse McAnally: I'm trying to give you a hint of the grade.

[32:25] Alan Seales: Read it again and use it in a sentence.

[32:28] Jess Eston: Hey, can I try it, Liz? Can I try it?

[32:30] Liz Eston: Yes, sure.

[32:30] Alan Seales: Wow, what a movie.

[32:32] Jesse McAnally: There are exclamation points at the end of every sentence.

[32:34] Alan Seales: One star to wreck.

[32:35] Jess Eston: Yes, yes, yes, I got one. I got one.

[32:37] Alan Seales: You got two points, Alex. Just two points. And how many just got four.

[32:43] Jesse McAnally: You just take your score and add another one, and you got my score.

[32:52] Alan Seales: What is our overall thoughts on Pink Cadillac? And is it a no spank you or an alrighty then?

[32:59] Liz Eston: Um, this movie's fine. Uh it's not as bad as the earlier ones, but I've kind of reached a point where I'm not gonna grade on the scale of it's not porn.

[33:10] Alan Seales: Because we're kind of deep past the porn.

[33:13] Liz Eston: Oh yeah, you guys can just walk away with your wounds, but my PTSD doesn't matter. Yeah, no, I'm I can overcome the port of the previous entries of this podcast, uh, mentally at least. But yeah, I'm gonna get past that and say this is a uh no spank you for me. Um it's fine. It's like Bernadette Peters good, the action's good. I just don't like action movies that much in most contexts I'm learning. Not my genre. I'm not really into it. I don't like Clint Eastwood very much. Like, just as a human. Uh I need to watch more of his movies, I think.

[33:45] Jesse McAnally: So no, you don't. I don't know. But so my dad tells me because he's a dad, so of course he likes Clint Eastwood movies, but like, I don't know. It's fine. It's a no spank you for me, but Bernadette Peters is good, and I like how I like the conflict as rescuing a baby, at least. But like, because that's tense, but they shouldn't have had the white supremacist be the villains. Like, it's kind of unnecessary.

[34:07] Alan Seales: Oh, yeah, we didn't talk about the cuck husband.

[34:10] Liz Eston: Fuck, he is like one of the most useless human beings in the movie. I did not talk about that husband.

[34:15] Alan Seales: Yeah, he's pretty dumb. We didn't talk about the hippie, like ID maker. There's a lot of weird B characters in this movie.

[34:21] Liz Eston: Yeah, it's a weird movie. I'm gonna say I don't no spank you for me, personally.

[34:25] Alan Seales: That's fair. Alan, how about you?

[34:27] Alan Seales: I will agree. I'll agree. That's that's a no spank you. I mean, it's not even borderline. I just no, no, didn't like it. Full stop.

[34:34] Liz Eston: You guys you guys are gonna hate me.

[34:36] Alan Seales: Oh choosing vampire.

[34:38] Liz Eston: Best of the worst.

[34:39] Alan Seales: Oh my gosh of the worst is vampire assassin.

[34:42] Liz Eston: Are you dangerous?

[34:44] Alan Seales: You fucking asshole.

[34:46] Liz Eston: Don't let hack a lantern's right there.

[34:49] Alan Seales: Don't do this.

[34:49] Liz Eston: Don't do this, man.

[34:50] Alan Seales: I think this is gonna get a light.

[34:53] Liz Eston: Alrighty.

[34:54] Alan Seales: Every time you do this, I'm gonna play Mike's declassa talking about vampire assassin from now on.

[34:59] Liz Eston: I swear.

[35:00] Alan Seales: No! I included Brendan Lee Mulligan in the unspinned episode for you.

[35:04] Liz Eston: So I will include Mike's the Class.

[35:07] Alan Seales: I mean, I I'm not gonna lie, I'm maybe it's because I watched this at two times speed, but I felt the pacing was great.

[35:16] Liz Eston: It was terrible if you watched it at regular speed as intended.

[35:21] Alan Seales: So I will give this an alrighty then if you're watching on two times speed. And I'm not gonna lie. I'm just very charmed by Bernadette Peters, so that kind of for i it I am grating on a curve. Even her dog shit movies I kinda like because I like her and she's an engaging presence. Um I thought that this was much more of a story than the Deadpool and than Mike Hammer. Um I felt like the overall kind of back and forth between them was at least well intricated, and I like the weird kooky characters they bumped into. The only thing I didn't like was Clint Eastwood himself. I mean, Mike Hammer at least had dad jokes that that got me through the really boring slow parts.

[36:03] Liz Eston: The Mike those dad jokes got you through Mike Hammer.

[36:05] Alan Seales: I didn't want to make you actually put a hammer in your head.

[36:08] Liz Eston: Negative goes right here.

[36:09] Alan Seales: I am I am all about some dad jokes.

[36:12] Liz Eston: I also am a lover of dad jokes, but those are painful.

[36:16] Alan Seales: Well, yeah, that's what makes them good dad jokes.

[36:18] Liz Eston: Yeah, but like fun painful. There were no dad jokes actually painful.

[36:21] Alan Seales: In Pink Cadillac, there was only bad acting and racism.

[36:24] Liz Eston: Yes. Um I will say great tagline for Pink Cadillac. No jokes and racism.

[36:33] Alan Seales: I do love some cringe.

[36:35] Liz Eston: I think cringe is very funny, and seeing Clint Eastwood dressed up like a clown trying to arrest people is very funny.

[36:42] Alan Seales: Seeing Clint Eastwood put on a goofy like jazz man voice is horrendous, not effective, very funny because it's Clint Eastwood, and I like to see him fail.

[36:52] Liz Eston: Yes, same. That was of this movie for me was when he was in character being his person repo man.

[37:02] Alan Seales: Yeah, like when he's the radio stage and guy just like I can get you to hang out with Delhi Parton for a day, and they believe him.

[37:08] Liz Eston: Yeah, yeah. That was great. If that was just the movie where it's just like a series of him doing that. Great movie.

[37:15] Alan Seales: Yeah. But then the white supremacists show up and ruin everything.

[37:18] Liz Eston: I'm surprised this didn't get the Oscar for Clint.

[37:21] Alan Seales: It's got no Oscar.

[37:22] Liz Eston: We made no money.

[37:24] Alan Seales: It did.

[37:25] Liz Eston: It made some.

[37:27] Alan Seales: Some?

[37:29] Liz Eston: Um, it opened up against Last Crusade.

[37:33] Alan Seales: Oh, that's not bad.

[37:34] Liz Eston: The budget is 19 million dollars, and it grossed 12.

[37:38] Alan Seales: Um, it gross 37.

[37:40] Liz Eston: It only um oh god.

[37:42] Alan Seales: Yeah, Yero, you're right. This fucking flopped.

[37:44] Liz Eston: Yeah, it flopped wholeheartedly.

[37:46] Alan Seales: Yeah.

[37:47] Liz Eston: Um it feels like one of those films that you feel dirty after watching.

[37:51] Alan Seales: Um speaking of feeling dirty after watching, thank you guys for listening. Please follow us on iTunes and Spotify at Carrey'd Away with Justin Allen.

[37:58] Liz Eston: We're on Twitter at carried away pod, Instagram carried away pod, email carried away podcast at gmail.com.

[38:03] Alan Seales: Our title card was created by the one and only amazing um short queen, Grace Aki. Um follow them on Instagram at it's Grace Aki.

[38:13] Liz Eston: This show is produced and edited by Elizabeth Essen, and they're doing a great job.

[38:16] Alan Seales: Our theme song is I choose you by the band Thanks. Thank you to the Broadway Podcast Network for having us on the platform and for not kicking us off for you know, we all know why.

[38:26] Liz Eston: Um alright. Anything else we have left to say before we wrap this up?

[38:29] Alan Seales: Oscar for Clint.

[38:30] Liz Eston: Oscar for Clint.

[38:31] Alan Seales: Oscar for Clint.

[38:31] Liz Eston: Hashtag Oscar for Clinton.

[38:32] Alan Seales: Has Clinton Eastwood won an Oscar?

[38:34] Liz Eston: I have no idea. I guess I should have looked that up.

[38:37] Alan Seales: Clint Eastwood.

[38:39] Liz Eston: Oh, no, he's won four Academy Awards.

[38:41] Alan Seales: I'll say it seems like he has.

[38:42] Liz Eston: Yeah.

[38:43] Alan Seales: Oh, Million Dollar Baby, dumb, a fucking idiot.

[38:45] Liz Eston: Yeah.

[38:45] Alan Seales: Wait, that's as an actor or as a director?

[38:47] Liz Eston: Both.

[38:48] Alan Seales: He's been nominated for 11 awards and has won four.

[38:51] Liz Eston: So he won for Unforgiven, Best Picture and Best Director, and he won for Million Dollar Baby, Best Picture and Best Director.

[38:57] Alan Seales: I forget that his last like really big hit was American Sniper. Like that was a proper, proper, like sizable hit.

[39:04] Liz Eston: And I forget that he directed it sometimes.

[39:07] Alan Seales: The film's garbage, but made a fuck ton of money.

[39:10] Liz Eston: So much money.

[39:11] Alan Seales: We'll see you next time on Carrey'd Away.