The Best Movies You’ve Never Seen podcast – What Lies Beneath

Best Movies You’ve Never Seen
Episode: What Lies Beneath
Published: 4 September 2026
Hosts: Stephen Fenech & Trevor Long

[00:01:43] Stephen Fenech: The best movies you've never seen. Welcome to our movie podcast. Uh, this is all about movies, movies that I've seen and I know very well. My name is Stephen Fenech and I'm joined by Trevor Long, who hasn't seen—

[00:01:56] Trevor Long: that's it—

[00:01:56] Stephen Fenech: these movies. Uh, brought to you by Hisense and Fetch. More about them a little bit later, but Let's get into it. This movie this week we're watching is What Lies Beneath. This is directed by Robert Zemeckis. Now, I think I told you in your millionaire question that this was the film that he made in between Cast Away. Cast Away, they broke so that Tom Hanks could lose weight, and they shut down. And then in the interim, Robert Zemeckis didn't just put his feet up. He said, I'm going to make another movie.

[00:02:26] Trevor Long: I mean, man's got to work.

[00:02:28] Stephen Fenech: This is that movie. It was released in 2000. Now I describe it as a Hitchcockian supernatural thriller.

[00:02:38] Trevor Long: Is that a thing?

[00:02:39] Stephen Fenech: Yeah. Okay, Hitchcock, very much an influence on you, is he? Starring Michelle Pfeiffer, big name, and Harrison Ford. So solid cast. They play husband and wife. Now Robert Zemeckis consciously thought this is a Hitchcock-style film. And I need to shoot it that way. So his attitude was, what would Hitchcock do if he had access to digital technology? How am I going to make this still have the Hitchcockian feel but with modern tech?

[00:03:11] Trevor Long: What year are we talking about again?

[00:03:12] Stephen Fenech: 2000.

[00:03:14] Stephen Fenech: So you think of the common Hitchcock tropes. Okay, so the heroine is blonde, common among really Hitchcock films.

[00:03:23] Trevor Long: Okay.

[00:03:24] Stephen Fenech: Now there's the psycho type music. You know, the music is a bit psycho.

[00:03:28] Trevor Long: Yeah.

[00:03:29] Stephen Fenech: Um, there's a— there is a scene in a bathroom with— we— in Psycho, remember the shower?

[00:03:36] Trevor Long: Okay, yes.

[00:03:36] Stephen Fenech: And there's this one, it's the bath, but there is a scene where she pulls the shower curtain down exactly like what happens in Psycho.

[00:03:43] Trevor Long: Okay.

[00:03:44] Stephen Fenech: And Harrison Ford's character is named Norman, after Norman Bates. So there's a lot of little boxes he ticked to sort of put it in that, in that box.

[00:03:54] Trevor Long: Fair enough.

[00:03:55] Stephen Fenech: And I think he achieved a little nod there from one thing though. The entire idea for this movie and a lot of scenes were lifted from another movie. No credit given to another film called Of Ghosts and Angels.

[00:04:14] Trevor Long: Oh, right.

[00:04:15] Stephen Fenech: Now, this is a film—

[00:04:16] Trevor Long: controversial that was lifted like that.

[00:04:18] Stephen Fenech: Well, it was a film where the husband, uh, is the bad guy. The ghost was in a relationship with the husband. And that, that's how justice is sought.

[00:04:30] Trevor Long: Okay.

[00:04:30] Stephen Fenech: So pretty— we've sort of given a lot away there, but you've probably hopefully seen it already. But that was pretty much lifted. And the scene where, remember, they're doing the— her— she's talking to her friend with the Ouija board.

[00:04:45] Trevor Long: Yes.

[00:04:46] Stephen Fenech: That's almost apparently word for word what was said in there. That's not—

[00:04:50] Trevor Long: how's that not controversial?

[00:04:51] Stephen Fenech: Well, I don't know. Maybe they own the rights to that other movie. They didn't tell anyone or whatever. So, wow. So had you heard of this, seen this? No impression.

[00:04:59] Trevor Long: I mean, I think the term What Lies Beneath rings bells, but I don't think it is a movie. So, you know, I've got nothing here.

[00:05:04] Stephen Fenech: What was your thumbnail? Was it the hand gripping the bath? Was that the one? Or was it pictures of Harrison Ford? And because the— I've got it on disc and the COVID is Michelle Pfeiffer's hand clutching the top of the bath as she's trying to get out of the bath.

[00:05:19] Trevor Long: Okay. Yeah, yeah. I don't remember.

[00:05:22] Stephen Fenech: That's all good.

[00:05:23] Trevor Long: Just quickly downloaded.

[00:05:25] Stephen Fenech: There you have it. All right, let's hear what Big Rog has to say. Roger Ebert, 2 out of 4 stars.

[00:05:33] Trevor Long: Wow, 2 out of 4, really? Yeah.

[00:05:35] Stephen Fenech: Okay, here's what he had to say. What Lies Beneath opens with an hour of— so, hour or so of standard thriller scare tactics done effectively, and then plops into a morass of absurdity. Lacking a smarter screenplay, it milks the genuine skills of its actors and director for more than it deserves. Yes, there are some good moments. Zemeckis does quote Hitchcock. There's a scene where Pfeiffer spies on a neighbor with binoculars and is shocked to see the neighbor spying back. We are reminded of Rear Window, which is Hitchcock's film. He also uses such dependable devices as harmless people who suddenly enter the frame and startle the heroine, and mirrors that suddenly reveal figures reflected in them, and shots where we're looking at a character in front of windows and the camera slowly pans, causing us to expect a face to appear in the window. Oh, all of these devices are used with journeyman thoroughness in What Lies Beneath, but they are only devices, and we know it. Late in the film, when the heroine walks close to the hand of a character who was assumed to be dead, the audience laughs because it knows, or thinks it knows, that in a horror film no one is ever really dead on the first try. Such devices at least involve the physical world and the laws of nature as we understand them. What's happening in the supernatural scenes, I leave you for you to decide. I think some of them are supposed to be real, others hallucinations, hallucinations, others seen in different ways by different actors.

[00:07:05] Trevor Long: Interesting.

[00:07:06] Stephen Fenech: So yeah, he didn't rate it though, semi-pan. But, uh, I think though the bits that he mentioned that it does well, the jump scares and all those little sudden, you know, music rises really quickly. Yeah, that's kind of bread and butter here. Okey-dokey, this is your last exit before the freeway. We're going to take a deep dive, and you'll know why, the why that's significant, into What Lies Beneath. And if you haven't seen it, you can watch it through Fetch.

[00:07:30] Trevor Long: And Fetch is available, uh, to bring you all your entertainment in one place, and you can get it through a great package called Fetch Access. It brings you more features, more convenience, and more ways to watch, and all in one easy experience. Fetch Access is the new way to unlock the core Fetch service. From just $5 a month, $4.99, you can get free-to-air TV, so 30 channels without an antenna. So if you've got a room in the home where you don't have an antenna but you do want to watch The Today Show, because why wouldn't you, um, you can set up a Fetch and get that via the internet. There's included lifestyle and entertainment channels, there's streaming apps, there's the movie box, there's the movie store, there's interactive games, Universal Voice Search, the Smart TV Guide, and the mobile app. It's all there, it's all part of the package. Plus you can add on more and get even more packages, even more movies and shows and TV channels all on one box, your Fetch Mini or your Fetch Mighty. And you can buy those directly from Fetch, you can find them at major retailers, and most importantly, you can research more and learn more about Fetch at fetchtv.com.au.

[00:08:29] Stephen Fenech: Right, oh, you have seen— you didn't watch this on a play, you watch this.

[00:08:32] Trevor Long: No, watch this here, big screen.

[00:08:33] Stephen Fenech: What Lies Beneath.

[00:08:35] Trevor Long: You could have told me it was a horror movie.

[00:08:37] Stephen Fenech: Well, I did tell you supernatural thriller.

[00:08:40] Trevor Long: Horror would have been the— this is— I'm going to tell you right now, it's not horror. You've—

[00:08:44] Stephen Fenech: mate, I wouldn't class it as horror.

[00:08:45] Trevor Long: You told me Halloween was a horror movie. That was a rubbish— yeah, this was far more scary, psychological. But even just bodies coming up and the look of the dead, like, mate, this was far worse than I think anything you've shown.

[00:09:01] Stephen Fenech: So you surprised— you were surprised? I was shocked, right? Were you scared? Uh, I know you sent me, you sent me your hostage photo. I think it was at 4 AM or something, you were watching it.

[00:09:15] Trevor Long: Yeah, that's why it would have not been nice to know it was a horror movie. I wouldn't have watched it at 4 AM.

[00:09:19] Stephen Fenech: Well, I told you supernatural thriller. What else can I tell you?

[00:09:22] Trevor Long: Supernatural? Yeah, I misinterpreted that word. But anyway, so I, yes, I was scared because it was more jump scares, you know, just, yeah, there was plenty of that.

[00:09:30] Stephen Fenech: Some great ones.

[00:09:31] Trevor Long: So I I wholeheartedly disagree with Rog in much of his assessment there because I think this is a really well-told story that didn't feel at all predictable to me.

[00:09:43] Stephen Fenech: Absolutely, yeah, yeah, you're right. It had a great story to it. What is your social media post here?

[00:09:48] Trevor Long: On this one, I'm saying the easiest way to describe What Lies Beneath is thriller, but also the words, I did not see that coming. It's not often a movie genuinely takes me by surprise, but Harrison Ford and Michelle Pfeiffer do that. That's good. That's a, that's a wrap because, you know, I, I rap this, I rate myself at being able to predict what's going to happen in movies. Nah, nothing here, mate. I had nothing.

[00:10:08] Stephen Fenech: I saw this at the movies, surprise, surprise. I class this as a bit of a hidden gem.

[00:10:14] Trevor Long: Oh yeah, I can, I can see that.

[00:10:15] Stephen Fenech: It's kind of like how it wouldn't make Harrison Ford's top 5 movies, right? Wouldn't make Michelle Pfeiffer's top 5 movies either, but yet it's still on it.

[00:10:24] Trevor Long: I wonder how they rate it. Yeah, whether they're— I think in the United States more proud of it than some others for the way it lands.

[00:10:31] Stephen Fenech: Perhaps. Uh, let's talk about the cast. Michelle Pfeiffer plays Claire Spencer. She was in Dangerous Minds, which we'll get to. She plays a teacher. She plays like a teacher in South Central, sort of that, okay, that sort of vibe. You know that— what's— I'm trying to even think of the name of the song, um, a famous song goes with it too. She was in Scarface, which we've done. Married to the Mob, which we've done. Fabulous Baker Boys, which we've done. Harrison Ford, what a, what a, what a resume he's got. Yeah, he plays Norman Spencer. He was in Star Wars, Indiana Jones, and recently we saw him— we did this in Presumed Innocent, and we also have Air Force One.

[00:11:15] Trevor Long: Air Force One, yes.

[00:11:17] Stephen Fenech: Now James Raymer plays the neighbor Warren He was in The Warriors, plays Ajax in The Warriors. I did not also had a long-running role in Sex and the City.

[00:11:28] Trevor Long: Did he?

[00:11:29] Stephen Fenech: Yep. Did you notice the Aussie actress in it? Miranda Otto plays the wife Mary.

[00:11:35] Trevor Long: No, remember, remember the one who we thought Miranda Otto knocks on the door here, I'd be like, what, what do you need?

[00:11:40] Stephen Fenech: She was the wife, remember, that, that she thought was dead, right? She was in Lord of the Rings and she was also in War of the Worlds. Remember, she was Tom Cruise's strange wife. Yeah, right. Before we get to the top scenes, let's mention our other great sponsor, and that is Hisense. Now, what people may not realize is Hisense make great TVs. They also make great projectors, and they have their C3 4K triple laser projector. This is 4K, can project anywhere between 65 inches and— wait for it— 300 inches.

[00:12:15] Stephen Fenech: So if you've got a spare side of your house, you might be able to Beam Up the Moon. Next movie that we're talking about is 4K UHD resolution, has 250,000 to 20— 2,500 ANSI lumens of brightness, has its Pure Triple Color Laser technology as well. And the great thing about this, it has a gimbal design, so really easy to place and set up. What does it all for you? By the time you sit down with your popcorn, it's ready to go. Uh, also has speakers built in, has an optical zoom too to make your picture even larger in a smaller space and does also have the Vida operating system. So just like you'd see on a Hisense TV, you would see you'd be able to watch Netflix and all your streaming services, your free-to-air catch-up services, and as well as being able to connect sources like a gaming console, a set-top box, a Fetch Box as well. Check it out for yourself, hisense.com.au. Okay, alrighty. Now we find, uh, Claire Spencer Uh, she's— her daughter's off to college.

[00:13:19] Trevor Long: Yeah, she's about to become an empty nester.

[00:13:22] Stephen Fenech: She's, uh, dropped off the kid. I like when Norman, which is Harrison Ford's character, says, oh, we better go, otherwise we'll be here for so long we have to enroll ourselves. So they, they drop her off and she's— yeah, it's their daughter. Yeah, they're empty nesters now. The daughter's off to college. They go back to their lakeside home in Vermont.

[00:13:39] Trevor Long: Isn't it funny how she doesn't make another appearance? No.

[00:13:43] Stephen Fenech: She's mentioned, you don't see her.

[00:13:45] Trevor Long: Yeah, but it's just an establishment of them as a family.

[00:13:47] Stephen Fenech: So back, back in, back at home, Claire's isolated alone. A lot of things we don't know about what's happened. I love the, I love how they drip feed us information about what she went through all the way. Yeah, through this movie it's a drip, you know, like people mention things or, how are you, how you feeling? And you're thinking, okay, what actually happened?

[00:14:04] Trevor Long: Yeah, there's like a little moment where they show a photo of a crash car, like it's just so many little things that you don't, that a lot of little brick. You meant to, you meant to go like, there was times where I should I rewind that to No, like, should I go back and check? Did I miss something?

[00:14:16] Stephen Fenech: I do. One thing this movie does very well is it plants things in the first acts and then refers back to them. Yeah, things happen and think, oh, okay. Yeah, uh, we'll talk more about that later. But, uh, Claire, there's a couple living next door, Warren and Mary Fewer. Fewer? How do you say that?

[00:14:33] Trevor Long: Yeah, they kept saying fewer. So in my head I had it spelled F-E-W-E-R. Führer is another one, but I imagine it being like a few H You know, something weird. Yeah, it was fewer.

[00:14:45] Stephen Fenech: But the neighbors are making a bit of noise, and, uh, Claire and Norman notice.

[00:14:54] Movie Audio: Claire and Norman, in bed, hear noise from next door and jokingly wonder if the neighbours need rescuing.

[00:15:07] Trevor Long: Well, they're empty nesters.

[00:15:15] Trevor Long: is that pleasure or pain?

[00:15:16] Stephen Fenech: That's it, that's pleasure.

[00:15:21] Trevor Long: I don't think—

[00:15:24] Stephen Fenech: I don't think you're meant to know what it is exactly.

[00:15:27] Trevor Long: You meant to— they're having sex. The neighbors are having sex. There's no question about that. Okay, in my mind, none at all.

[00:15:32] Stephen Fenech: Could be interpreted as pain, not, not pleasure.

[00:15:35] Trevor Long: Not at all.

[00:15:36] Stephen Fenech: Okay, my little interjections here are going to be called jump scares.

[00:15:41] Trevor Long: Okay, that's fair.

[00:15:42] Stephen Fenech: My jump scare here is, uh, the original script written by Clark Gregg. In the original script, Claire and Norman smoked pot, and their relationship wasn't as close as it is in this final version of the movie. Okay, they were kind of— yeah. Not as close.

[00:15:59] Trevor Long: The rewrite was very smart.

[00:16:00] Stephen Fenech: Pot smokers would have changed the whole concept.

[00:16:01] Trevor Long: Rewrite was very smart.

[00:16:03] Stephen Fenech: Yeah, I agree. They, well, they thought though, so I think she hears some arguments as well, and Clare hears Mary crying in the yard, remember?

[00:16:13] Trevor Long: And then so there was like the first time we see the neighbors, they're arguing in the front yard. Yeah. And then we hear them having sex because that's why he says they're making up. Yes. But the next time you see her, she's crying in the backyard and Clare's like, I should go and talk to her. I like how—

[00:16:26] Stephen Fenech: did you like how she stuck— she looked through the fence and then the eye suddenly popped in there? Yeah. Did that give you a bit of a jump?

[00:16:31] Trevor Long: Yes.

[00:16:32] Stephen Fenech: Jump scare number one.

[00:16:33] Trevor Long: Yes.

[00:16:34] Stephen Fenech: Later though, she spots Warren dragging a heavily rolled up rug.

[00:16:39] Trevor Long: It's pouring down rain.

[00:16:40] Stephen Fenech: Yeah. And putting it in his truck.

[00:16:42] Trevor Long: It's not clear what it is, but it looks like something rolled up. It looks like—

[00:16:45] Stephen Fenech: it looks like a body—

[00:16:46] Trevor Long: body bag.

[00:16:47] Stephen Fenech: It's like a body's been wrapped in a rug.

[00:16:49] Trevor Long: Doesn't look like a large duffel bag, put it that way.

[00:16:51] Stephen Fenech: It's, it's, yeah. And the fact he's doing it in torrential rain, thinking, what's happening here?

[00:16:57] Stephen Fenech: So now it's at this point where Claire is starting to experience strange phenomena in her house.

[00:17:04] Trevor Long: Yes. Okay.

[00:17:06] Stephen Fenech: The door mysteriously opens on its own.

[00:17:08] Trevor Long: Yeah.

[00:17:09] Stephen Fenech: Her dog barking at the lake water.

[00:17:11] Trevor Long: Yes.

[00:17:12] Stephen Fenech: A framed photo keeps falling face down.

[00:17:15] Trevor Long: Yes.

[00:17:16] Stephen Fenech: The photo happens to be of Norman accepting an award or something.

[00:17:19] Trevor Long: A particular dinner, which is very important to the story.

[00:17:21] Stephen Fenech: Yes. The DuPont dinner.

[00:17:22] Trevor Long: Yes.

[00:17:23] Stephen Fenech: Um, so what does Claire do? Claire is scared and she goes to see her husband.

[00:17:30] Movie Audio: At his lab, Norman describes the anaesthetic drug halothane to a colleague, then takes a call from Claire, who's rattled by strange noises at the house; he reassures her and arranges for police to check on things while he's away.

[00:18:31] Stephen Fenech: So just to set it up, Norman is a, like, head of research at a genetics lab or something. He's working on this really important paper, which I think is a pitch to get more research money.

[00:18:41] Trevor Long: Yeah.

[00:18:42] Stephen Fenech: So he's really involved in his work right now.

[00:18:44] Trevor Long: Like to the point where he's in bed on the laptop. He, when he gets home, he says, I'm going to do some work.

[00:18:48] Stephen Fenech: Like, he's, yeah, he's into it.

[00:18:49] Trevor Long: He's a workaholic.

[00:18:51] Stephen Fenech: But, uh, she notices Mary Fewer is not there. She vanishes, and Warren begins packing up her things. She's looking out the window. She becomes convinced that Warren has murdered his wife and starts spying on him with the binoculars.

[00:19:04] Trevor Long: Yeah.

[00:19:05] Stephen Fenech: Did you like that bit where he's looking up, then he suddenly looks up at her and she freaks out? The jump, mate. Jump number 2. Uh, Norman says, look, you're being paranoid, this is empty nest syndrome, relax. And anyway, Claire repairs the broken frame and just happens to notice a little key inside a grate inside the house.

[00:19:23] Trevor Long: A random key in the grate on the floor.

[00:19:26] Stephen Fenech: And she fishes it out, tries it on a few locks, doesn't work.

[00:19:29] Trevor Long: Yep.

[00:19:29] Stephen Fenech: She thinks it's ornamental or something, I don't know. Claire sees though that the bathtub was filled with water.

[00:19:36] Trevor Long: Even in one instance, I know this one, it filled in the time that it took her to walk around.

[00:19:41] Stephen Fenech: Yeah.

[00:19:41] Trevor Long: From the room, one room to the next. Yes. That's great water pressure. Yes.

[00:19:46] Stephen Fenech: So she goes to pull the plug, but she notices a woman's reflection in the water and screams.

[00:19:51] Trevor Long: Yeah. Like, and it's there. We all see it.

[00:19:53] Stephen Fenech: And you jump.

[00:19:53] Trevor Long: We all jump.

[00:19:54] Stephen Fenech: You jump again. Okay, cool.

[00:19:56] Trevor Long: Because it's a dead—

[00:19:57] Stephen Fenech: like, it's a woman.

[00:19:58] Trevor Long: You can tell it's a dead woman.

[00:20:01] Stephen Fenech: And I'll tell you later who plays that woman too.

[00:20:03] Trevor Long: Yeah, right.

[00:20:04] Stephen Fenech: Um, Claire decides— I think she tells Norman, he goes, look, why don't you go see someone? So she visits a therapist, as you would. Yeah, who encourages her though to confront whatever presence is in the house. So what does she do?

[00:20:18] Trevor Long: She gets a Ouija board, came up.

[00:20:20] Stephen Fenech: Exactly. And invites her best friend Jodie over to take part.

[00:20:31] Movie Audio: Claire and Jodie set the Ouija board up for their séance, trading nervous jokes as they try to make contact, addressing the presence by the mistaken name they've landed on.

[00:20:45] Stephen Fenech: So this is Mary.

[00:22:02] Trevor Long: It's not very helpful for the best science, but they noticed the candle flickering. Yep.

[00:22:07] Stephen Fenech: And did you notice the marker moved a bit by itself?

[00:22:10] Trevor Long: It did as well. Yeah, yeah. I don't know if that was continuity or not, but there was in different places during this.

[00:22:14] Stephen Fenech: Yeah, it did move. And then they're thinking the door starts opening and it's the dog, scares the crap out of them. Yeah, the dog Cooper. As Jodie's leaving though, we learn a little more about Claire's past.

[00:22:31] Movie Audio: As Jodie leaves, Claire admits that ever since her car accident Norman has treated her as fragile, and confesses she isn't entirely sure of her own sanity.

[00:23:16] Stephen Fenech: So, uh, so we learned she's been in an accident, you think?

[00:23:20] Trevor Long: Okay, so the photo in the front, in the photo, insurance claim, so 1981 insurance claim.

[00:23:25] Stephen Fenech: We know something's doing— yes, uh, Claire sees the bath has been filled up again. Yeah, but this time she sees the words 'you know' in the mirror. Yeah, and then runs downstairs and sees the letters MEF F being typed on the computer.

[00:23:41] Trevor Long: So let's say game, any good, any good computer game that you're going to get on the leaderboard, you're gonna have a 3-letter—

[00:23:46] Stephen Fenech: that's it, high score. Did that many times when I played games. Uh, mine, mine was just, I just put S and a space and then F.

[00:23:54] Trevor Long: You couldn't always put—

[00:23:55] Stephen Fenech: I don't have a middle name.

[00:23:57] Trevor Long: I don't think I know that.

[00:23:58] Stephen Fenech: I don't have a middle name.

[00:24:00] Trevor Long: Yeah, it's mind-blowing.

[00:24:01] Stephen Fenech: None to speak of. What's your middle name?

[00:24:03] Trevor Long: William.

[00:24:04] Stephen Fenech: There you go.

[00:24:06] Trevor Long: Wow.

[00:24:06] Stephen Fenech: That's what S.F. Yeah. And that used to be on the top of many games in the long run.

[00:24:11] Trevor Long: Anyway, M.E.F. is all I— but it's just, it's repeating on the screen.

[00:24:14] Stephen Fenech: Repeating. Claire rushes to see Norman.

[00:24:16] Trevor Long: Which, by the way, Mary Fewer.

[00:24:19] Stephen Fenech: M.E.F., correct. She thinks it's got to be her, right? So Claire rushes to see Norman, who is fully entrenched in his research paper.

[00:24:27] Movie Audio: Claire tells Norman about the séance and insists something real is happening in the house; he grows defensive, accuses her of resenting how busy he's been, and asks her to keep her voice down.

[00:25:45] Trevor Long: So this is her again out at his work, at his college, and then gone out the front, and she looks through the window.

[00:25:50] Stephen Fenech: There's all this crowd, and she sees him, sees Warren, sees the neighbor, and she heads across and confronts him.

[00:25:58] Movie Audio: Claire publicly accuses Warren of killing his wife; he denies it and apologises to the crowd for the outburst.

[00:26:21] Stephen Fenech: Didn't she?

[00:26:24] Trevor Long: So, uh-oh, your wife's alive.

[00:26:26] Stephen Fenech: She made a scene there, right?

[00:26:28] Trevor Long: Pretty big one.

[00:26:28] Stephen Fenech: Yeah, my jump scare. I've got a jump scare here. Okay, when he confronts— she confronts James Raymar as Warren.

[00:26:35] Trevor Long: Yeah.

[00:26:36] Stephen Fenech: And what he utters, I didn't kill my wife, that's the same line famously told by Richard Kimball in The Fugitive.

[00:26:46] Trevor Long: Uh, we haven't done that.

[00:26:47] Stephen Fenech: Richard Kimball Kimball. Who's playing Richard Kimball? Harrison Ford.

[00:26:51] Trevor Long: He's too—

[00:26:52] Stephen Fenech: says that in The Fugitive, right?

[00:26:54] Trevor Long: Yeah, we haven't done that yet, have we? No, I have seen it though. I'd like to do it again.

[00:26:58] Stephen Fenech: Okay, now that'll be on their list. Yeah, I can't do them all, every one gay movie all at once. I've got to spread them out. Okay, righto. Mary appears on Claire's doorstep the next day, alive and well. Yeah, explaining that she had simply left temporarily after a big fight.

[00:27:19] Stephen Fenech: Claire realizes the entity haunting her is not Mary. Norman and Claire attend a reception for his research faculty.

[00:27:28] Trevor Long: By the way, he brings her back out in public real quick.

[00:27:30] Stephen Fenech: Oh yeah, of course.

[00:27:31] Trevor Long: I'm like, I don't want to break to you, babe, but after that little whatnot, maybe take the night off. How about you have a glass of wine, stay at home, I'll go to the next function?

[00:27:38] Stephen Fenech: Yeah, well, some time I think has passed.

[00:27:40] Trevor Long: I'm not sure.

[00:27:41] Stephen Fenech: Yeah, well, he decides to take her, and Claire is reminded about an incident at last year's event.

[00:27:49] Movie Audio: At the faculty reception, an older guest reminds Claire how she went pale and struggled to breathe after breaking a glass at the same party the year before.

[00:28:56] Stephen Fenech: So more little snippets coming now. From that, you discover that she must have, in her crash had a bit of amnesia.

[00:29:04] Trevor Long: Yeah.

[00:29:05] Stephen Fenech: So she must—

[00:29:05] Trevor Long: how would she forget such an important thing?

[00:29:07] Stephen Fenech: So she's— now that she's being reminded of it, and we hear more later, but she goes home, the frame is on the floor again. She's— as she's fixing it up, because the picture that was framed was cut out of the newspaper, and so there's a newspaper news text on the back. Bottom right is an article about a missing girl, and you can barely see a name, but you can see enough to see It leads her to identify Madison Elizabeth Frank, M-E-F. She is apparently a former student at Norman's university who had vanished a year earlier, and she confronts old Normie about it. Does she ever. He, uh, Claire asks about her and denies that he even knows her.

[00:31:02] Trevor Long: So at this point, she is not hanging up on this case.

[00:31:06] Stephen Fenech: That's what I'll ask you. Like, at this point, are you thinking, is she losing her mind? Is something happening?

[00:31:10] Trevor Long: No, I think this, this now is where you— I started to think, wow, she's on to something here. This is not just, you know, crazy occurrences. Like, all that earlier stuff with the neighbors, all just there to filter in ideas for you that don't actually—

[00:31:22] Stephen Fenech: red herring, classic red herring.

[00:31:24] Trevor Long: Yes.

[00:31:24] Stephen Fenech: But here's what she does next though. Remember on that little snippet, you pause it, you see the reporter's name. So she calls her, she calls the reporter who wrote the story, then goes off and visits Madison's mother, which is wild, claiming to be a friend. Yeah.

[00:31:37] Trevor Long: And steals a lock of her hair.

[00:31:39] Stephen Fenech: Oh my God, that's crazy. Here, just— she gets the lock of hair and And she sort of— it's like at this point, did you remember when Norman comes home, she's in a red dress and it's like she's been possessed by her or something, right? Yeah, that's like thinking, hang on a minute.

[00:31:58] Trevor Long: And they've intentionally made the missing girl have, yeah, similar descriptive features of Michelle Pfeiffer, basically, right?

[00:32:05] Stephen Fenech: Yeah, correct. But she— I've written here, she appears she's been possessed because she says things like I know she'll be here soon, you know, who, your wife. And so Norman is shocked and pushes her away.

[00:32:33] Stephen Fenech: Maybe she looked in the mirror, saw herself in the rain.

[00:31:02] Movie Audio: The fight boils over: Claire confronts Norman over the affair, he admits to it, and the argument spirals into old resentment about the singing career and independence Claire gave up for their marriage.

[00:34:14] Trevor Long: So single woman with a baby touring.

[00:34:17] Stephen Fenech: Yeah, because you— they refer during the film— remember when they go to dinner and there was a scene where they go to dinner with a mate of his and the woman that he's with happens to be her friend? Yeah, remember that?

[00:34:28] Trevor Long: Yes.

[00:34:28] Stephen Fenech: And they mentioned her husband who was a musician who died, so she's a widow. Yeah, Claire's ex-husband died.

[00:34:37] Trevor Long: Yeah, she, she—

[00:34:38] Stephen Fenech: they mentioned that he—

[00:34:39] Trevor Long: the—

[00:34:39] Stephen Fenech: her ex-husband died.

[00:34:41] Trevor Long: Okay.

[00:34:41] Stephen Fenech: And she was a single mum.

[00:34:43] Trevor Long: Yeah, there you go.

[00:34:44] Stephen Fenech: But that was a lot of info there. So Norman has had an affair with us.

[00:34:48] Trevor Long: Taking a twist, taking a turn for old Norman.

[00:34:51] Stephen Fenech: Madison apparently came to their house threatening to expose the affair and ruin Norman's career. Claire had apparently caught them together, resulting in the car accident that gave Claire amnesia about the entire incident.

[00:35:02] Trevor Long: You can imagine she, in the same way that she left in a huff there, she probably drove off in a huff and had an accident. Yeah.

[00:35:08] Stephen Fenech: Don't drive angry.

[00:35:09] Trevor Long: No, don't drive angry. But then she goes and visits her, her friend Jodie, who basically admits that she knew it was happening.

[00:35:16] Stephen Fenech: She saw them together at the Adamant Cafe.

[00:35:19] Trevor Long: How does she know?

[00:35:20] Stephen Fenech: In Adamant.

[00:35:21] Trevor Long: How does she not tell a friend? That's why she has an excuse for it in the movie, but yeah, I don't think it's a valid excuse.

[00:35:27] Stephen Fenech: No, that's, that's, that's true. Claire comes home again only to find Norman unconscious in the bath with a hair dryer in what looks like a suicide attempt. Yeah, so Norman has admitted to the affair as the doctors check him. He's going to be okay, claiming Madison had threatened to kill herself after he tried to break it off.

[00:35:51] Movie Audio: Claire asks Norman outright whether he had anything to do with Madison's disappearance; he says yes.

[00:35:59] Trevor Long: Honest?

[00:35:59] Movie Audio: Norman insists Madison became unstable and threatened suicide after he tried to end things, denies killing her, and grows rattled as Claire insists the presence in the house is Madison, empowered by the lock of hair Claire took.

[00:37:20] Stephen Fenech: Yeah, so a bit of a side—

[00:37:21] Trevor Long: I mean, how she turns that back on herself, to be honest.

[00:37:23] Stephen Fenech: But yeah, it is a bit. But Claire is still drawn to the lake, and I love this, the shot of her at the end of the pier and Norman's looking at her, calling after her, and then she just dives in the water.

[00:37:34] Trevor Long: Dives in. Earlier we'd seen her at the end of the pier. The dog wouldn't go down there, and she saw a ghost, a body in the water, like a face in the water. Yes. And, and then when it went down, you— if you look back, you see that symbol that was, that was on the, on the chest.

[00:37:49] Stephen Fenech: Okay, so when she's in the water, she sees a box. She thinks there's a box underwater, but Norman drags her to the surface before she can do anything else. Claire reveals she's got a lock of her hair and they burned it in the fireplace hoping that will settle everything. Yeah. But then remember when she's in the bath and remember originally she put her, that key in her bathrobe. Like she went to grab her bathrobe when she was in the bath and the key fell out. She goes, ooh, hang on a minute.

[00:38:13] Trevor Long: And then she goes, hang on a minute, the box that was in the lake.

[00:38:16] Stephen Fenech: That's it.

[00:38:16] Trevor Long: The key. And she goes out in the middle of the night. Yep.

[00:38:19] Stephen Fenech: She, before she does that.

[00:38:20] Trevor Long: That lake's gotta be cold.

[00:38:21] Stephen Fenech: Yeah. Before she does that, she goes to Adamant and sees the pattern of the key on the pendants in the store.

[00:38:26] Trevor Long: That's right.

[00:38:27] Stephen Fenech: And a similar box to what you saw on the lake.

[00:38:29] Trevor Long: Yes, yes.

[00:38:30] Stephen Fenech: So she now realizes what the key can open. So she gets down there, confronts Norman with Madison's pendant retrieved from the box on the bottom of the lake.

[00:38:42] Movie Audio: Confronted with the recovered pendant, Norman finally admits Madison died in their home after he tried to break off the affair, and that he disposed of her body and the evidence rather than come forward.

[00:40:14] Stephen Fenech: He's got, he's got answers for everything.

[00:40:16] Trevor Long: This all came from nowhere. Like, yeah, there's no way you predict this at the start of the movie.

[00:40:21] Stephen Fenech: No, not at all.

[00:40:21] Trevor Long: Or the first half of the movie.

[00:40:22] Stephen Fenech: But here's the next bit. She says, okay, then we can't let her rest. We can't just leave it. You've got to call the cops, right? Norman pretends to dial.

[00:40:31] Trevor Long: He dials 3 digits.

[00:40:32] Stephen Fenech: Yeah, he dials 411 instead of 911.

[00:40:34] Trevor Long: We don't see that at first, but he does. He has a whole conversation with the police. Yep, he goes upstairs to have a shower or whatever, a bath, whatever he does. And she goes upstairs and then she sees the phone and does the redial, and that's when she sees 411. Brilliant.

[00:40:46] Stephen Fenech: And then up from behind her, oh, we see Norman, and he, uh, puts a cloth over her face of that stuff, that paralyzing nerve toxin.

[00:40:57] Movie Audio: Norman incapacitates Claire and begins staging her death, then phones a friend, feigning worry and asking them to check on her in the morning while he claims to be sleeping at the lab.

[00:44:01] Trevor Long: I would have made that call without the running water.

[00:44:02] Stephen Fenech: Yeah, that's true. Good.

[00:44:04] Trevor Long: If this— if she was found dead.

[00:44:05] Stephen Fenech: Yeah. In the bath.

[00:44:09] Trevor Long: They would go in that voice, you'd be like, bro, yeah, doesn't sound great.

[00:44:13] Stephen Fenech: Okay, yeah, Trev the detective. Yeah, that's true. I've never noticed.

[00:44:16] Trevor Long: I've done some Law and Order in my time. Bum bum.

[00:44:20] Stephen Fenech: My other jump scare here. Now do you remember when he first drugs her?

[00:44:28] Trevor Long: Yes. And then they shoot, it's like, oh mate, where they come out to the glass. Yeah, that is so good.

[00:44:31] Stephen Fenech: I know, it's how they're looking up at him.

[00:44:34] Trevor Long: So what they come from under her as well. Yeah, her face is squashed onto glass.

[00:44:51] Stephen Fenech: How they did it, they, they had a crane, they had a shot from under the floor, so it was glass. They used a glass floor to shoot it, but then the solid floor at the start of the shot is drawn in by computer. So the glass floor is used also when she drops the keys later on as well.

[00:45:01] Trevor Long: Right. No, it was so well done. I love that. There's another— there is another shot at some point when they're driving later, that's really epic too. Oh yeah, there's a few really choice shots in this.

[00:45:18] Stephen Fenech: But how's this? When Norman— I think you wanted to get the pendant for the, the chain from her neck, so he tilts her forward to remove the necklace. When he puts her back down, he sees Madison's face and jumps back and hits his head on the sink and collapses on the floor, which by the way is the ghost.

[00:45:26] Trevor Long: So the ghost grabbing her and grabbing him and pushing her back, you know what I mean? It's done the job. Yeah. Oh yeah, yeah.

[00:45:52] Stephen Fenech: So he's unconscious, the water's rising. Claire manages to drain the tub, although he, he leaves, he gets out of the bathroom. We don't really know that yet, but yeah, we don't know whether he's dead or alive or anything, but she finds him unconscious on the floor downstairs. As she's walking by, I think he tries to grab her, then she bolts in the car. Uh, now it's just a rush of action here. Norman catches up and and he's inside the vehicle with her, veers off the bridge into the lake.

[00:45:57] Trevor Long: So they're submerged underwater in the exact same place where he pushed the dead girl.

[00:45:57] Stephen Fenech: Just happens to be. Norman attempts to drown Claire again, tries another go. Yeah, but as he holds her down, the sunken car containing Madison's corpse breaks open. Yeah, Madison's corpse floats out, grabs Norman by the arm, trapping him underwater while Claire breaks free and swims to the surface.

[00:46:16] Trevor Long: He was trapped by the— by his foot, so he, he was never going to get out of that car.

[00:46:20] Stephen Fenech: Well, Madison made sure of it.

[00:46:22] Trevor Long: Absolutely.

[00:46:23] Stephen Fenech: And they've— at the very end, we see months later, a snow-covered winter. Claire is visiting Madison's newly prepared grave, leaves a single red rose, offering a final peace to the spirit that saved her life.

[00:46:38] Trevor Long: There you go. Yeah, yeah.

[00:46:40] Stephen Fenech: What a wild ride. Amazing. Right, a couple of lines here. Now I sacrificed— I normally have 3 favorites. I wanted to fit extra into the main show, so I've only got 2 quotes here. Not that there was a lot of the quotable stuff we already played, but here's the first one after Jodie is over for the séance.

[00:46:58] Movie Audio: (Read out by Stephen as a favourite line) Jodie jokes to Claire about already having someone lined up.

[00:47:04] Stephen Fenech: It's funny how she says that, and later on we find out what Norma did.

[00:47:08] Trevor Long: So yes, weird.

[00:47:09] Stephen Fenech: Here's a really good one, and I'll tell you now, husbands—

[00:47:13] Movie Audio: (Read out by Stephen as a favourite line) Norman apologises to Claire and vows to spend the rest of his life making it up to her.

[00:47:33] Trevor Long: Yeah, that's a good line. So yeah, keep that under the same—

[00:47:36] Stephen Fenech: keep that in your pocket.

[00:47:37] Trevor Long: I never need to apologize.

[00:47:39] Stephen Fenech: Yeah, me neither, mate. I'm a clean skin.

[00:47:41] Trevor Long: Yeah.

[00:47:42] Stephen Fenech: All right, how did that happen? I've got one here. Claire, you know, when she— remember when she picks up the phone and sees that he called 411 instead of 911?

[00:47:54] Trevor Long: Yeah, directory assistance.

[00:48:00] Stephen Fenech: Yeah, he would have been speaking to someone and they're thinking going, what?

[00:48:04] Trevor Long: And everyone, we had Directory Suspects, what are they, 113?

[00:48:07] Stephen Fenech: The person who would have heard that, right? So someone would have heard that call.

[00:48:11] Trevor Long: That's true.

[00:48:11] Stephen Fenech: Wouldn't they have reported that to the police? Yeah, some bloke reckons he killed someone, come over.

[00:48:15] Trevor Long: Yeah, yeah, yeah, that's true.

[00:48:16] Stephen Fenech: So they could have given him up. Uh, the speaker workout, well, uh, the jump scares, the sudden increase in volume really got me. Uh, the final car chase, awesome.

[00:48:25] Trevor Long: It's pretty good.

[00:48:26] Stephen Fenech: The late crash as well. Uh, the sound was pretty solid there. Thank God I got a big screen. Great shots of Vermont and the lake. Remember they went sailing as well?

[00:48:36] Trevor Long: Beautiful.

[00:48:37] Stephen Fenech: And just any shot with Michelle Pfeiffer in it, she's gorgeous.

[00:48:40] Trevor Long: 2 minutes on the lake sailing purely to prove they had a boat for the final scene.

[00:48:44] Stephen Fenech: Yeah, yeah, that's right.

[00:48:46] Trevor Long: No other reason. You gotta plant the seeds, mate.

[00:48:48] Stephen Fenech: You gotta plant the seeds. Just like the— remember when she walked in the lab? They're talking about this halothane.

[00:48:52] Trevor Long: Yes, they spent— I thought that was a little too dragged out.

[00:48:55] Stephen Fenech: Yeah, about 30 seconds describing that, and then they showed the boat and then all these other, these other little things.

[00:48:59] Trevor Long: Yeah, true. So it was set up quite nicely.

[00:49:01] Stephen Fenech: Now the business, in this case neuromuscular blocking agents, right? It's a thing.

[00:49:08] Trevor Long: Wow

[00:49:09] Stephen Fenech: Commonly known as paralytics, completely paralyze voluntary muscles but have no effect on consciousness, awareness, or pain perception.

[00:49:18] Trevor Long: Oh no, I wouldn't want that.

[00:49:19] Stephen Fenech: A person is given a paralytic drug without a separate sedative or anesthetic, they'll remain wide awake, fully alert, and able to feel everything while being completely unable to move or breathe. Dude, so, uh, how they work, they block communications to the neuromuscular junction, which is where nerve signals tell muscles to contract. So they use them for, uh, in hospitals they're used to control, like, you know, when they do intubate patients, it relaxes the jaw and throat muscles so they can do that. Major surgery, they keep the body perfectly still during delicate operations like orthopedic or chest surgeries. As well as they use it to prevent a patient fighting against a ventilator in an ICU. Yeah, so things like that.

[00:50:02] Trevor Long: Wow.

[00:50:02] Stephen Fenech: So it does exist.

[00:50:03] Trevor Long: That's who knew.

[00:50:04] Stephen Fenech: Yeah. If the movie was made today, set today, same deal, I think this should have a better— I should have a more recent operating system. Yeah, should have better internet search.

[00:50:15] Trevor Long: There would have been mobile for the coverage.

[00:50:17] Stephen Fenech: Google would have been everywhere.

[00:50:19] Trevor Long: The cell coverage on the bridge would have extended all the way. Starlink or something.

[00:50:22] Stephen Fenech: They had— they would have had to drive. Remember, they drive halfway across the bridge when they get there. Again, that was another they planted where, yes, um, they'd have smartphones. And I said here, better cellular signals they'd have there. Uh, every day is a school day. What is the theme or lesson here?

[00:50:37] Trevor Long: Uh, don't trust your husband.

[00:50:39] Stephen Fenech: Number one, that's what I worry about. Number one, keep it in your pants, buddy.

[00:50:43] Trevor Long: Yeah, it's not rocket science.

[00:50:44] Stephen Fenech: Keep it in your pants. Like, look who you're married to. Like, she's gorgeous. What are you doing? What is this justification you need to these young students? He said it, a young— so young young student found me attractive. Like, hello, look at your wife.

[00:50:56] Trevor Long: It's crazy.

[00:50:58] Stephen Fenech: Trust your gut, I think, is another thing. Yeah, I mean, she trusted—

[00:51:01] Trevor Long: we didn't know whether she was going crazy or what, because there's a point where she goes— because at the end, or in the middle, she goes, it's— she's gone, or I can feel it. You know, she again, she talks about how her feelings— she can feel the difference.

[00:51:11] Stephen Fenech: And the other one, you can never hide from the truth.

[00:51:16] Trevor Long: No, that's 100% true. I've watched enough Law and Order to know that as as well.

[00:51:20] Stephen Fenech: Uh, best use of the pause button.

[00:51:22] Trevor Long: The new joke was originally going to be my one, but then we got enough out of it.

[00:51:25] Stephen Fenech: I got that too. Uh, the list of— remember, she's on the computer, the list of missing persons. There's a whole list. Jennifer Houston, Kenneth Farnell, there's heaps of them there. They all are people who worked on the movie.

[00:51:37] Trevor Long: Oh, that's cool.

[00:51:38] Stephen Fenech: So they put the crew in there.

[00:51:39] Trevor Long: That's cool.

[00:51:40] Stephen Fenech: Uh, when the picture frame breaks, the caption of the photo clipping says, photo by Andrew Lehman. Andrew Lehman is an uncredited graphic designer who worked on the props in the movie.

[00:51:52] Trevor Long: That's cool.

[00:51:53] Stephen Fenech: So he's only uncredited, made the, uh, the newspaper clippings. And at the end of the movie, did you notice this bit? When Claire walks out of the cemetery, you can see Madison's face in the snow close to her grave. I did not see her face. So pause it, you'll see it.

[00:52:09] Trevor Long: I thought that cemetery scene was pretty poorly done, looked fake.

[00:52:12] Stephen Fenech: Ah, for, uh, things you might not know No, this is the first film where the villain is played by Harrison Ford.

[00:52:20] Trevor Long: Really?

[00:52:21] Stephen Fenech: He plays the main villain. It's the first time he's been a bad guy in a movie.

[00:52:23] Trevor Long: Jeez.

[00:52:24] Stephen Fenech: Yeah, he's always the hero. Uh, the house in the film was used for day scenes only. It was torn down after filming because it didn't meet local building codes, so to tear it down— I think they might have built it for the movie and then had to tear it down Australian. But the rooms were duplicated on an LA soundstage for the night scenes.

[00:52:45] Trevor Long: Yeah.

[00:52:46] Stephen Fenech: Here's the other thing you might not know. If you watch the trailer for this, it was criticized for giving the movie away.

[00:52:54] Trevor Long: Oh really?

[00:52:54] Stephen Fenech: Some plot twists in it, including the identity of the ghost. So if you had to watch the trailer, you would have known the ghost is a— is a—

[00:53:01] Trevor Long: he's not the neighbor.

[00:53:02] Stephen Fenech: Yeah, he's someone having an affair. So I'm glad you never saw the trailer.

[00:53:06] Trevor Long: Wow.

[00:53:07] Stephen Fenech: Uh, did you notice the computer in the Spencer house? It's a Macintosh. Yeah, but it shows Windows 95 screenshots for the close-ups. So it is possible. I don't think back then you could emulate Windows on a Mac, but it is, it is not uncommon. Apparently it's not common. Uh, when Claire visits the village of Adamant, yes, she realizes that Madison's necklace and the key she found came from a store called The Sleeping Dog. Yes, which refers to the phrase 'let sleeping dogs lie,' right? So leave— best refer to things that are best left undisturbed.

[00:53:46] Trevor Long: So she should have left it. Left it.

[00:53:48] Stephen Fenech: Well, I don't know, we wouldn't have a movie if she did.

[00:53:51] Trevor Long: True.

[00:53:52] Stephen Fenech: Uh, what's the meme? Hard to really meme this one. I'm hearing voices and I like the guy saying, 'I didn't kill my wife.' I think just the mirror, you know.

[00:53:59] Trevor Long: You could send that back.

[00:54:00] Stephen Fenech: Yes, that's great. Yeah, or, um, yeah, that's a pretty good one. Uh, By Any Other Name. I had Below the Surface.

[00:54:12] Trevor Long: It's too close to the original.

[00:54:14] Stephen Fenech: Yeah, What Lies Beneath, or Distant Memories.

[00:54:17] Trevor Long: Yeah, because it's good because it doesn't give anything away.

[00:54:20] Stephen Fenech: Yeah, What Lies Beneath, what does that mean?

[00:54:21] Trevor Long: It means nothing.

[00:54:22] Stephen Fenech: Yeah, or What Lies Beneath is the—

[00:54:24] Trevor Long: you don't want to call it Haunted because that would put people off.

[00:54:26] Stephen Fenech: No. Yeah, I think what lies beneath is enough, is obscure enough to think, okay, what kind of movie is this? Because if you describe this, we've got to wonder just on the surface, it doesn't look like what it is. Not at all.

[00:54:39] Stephen Fenech: All right, the one thing you want. I'll take the pendant.

[00:54:42] Trevor Long: I'll take the key.

[00:54:44] Stephen Fenech: The key and all the little box. I'll take the box. I'll take the Ouija board. Oh yeah, uh, Norman's old MacBook. Was that an old thick MacBook?

[00:54:51] Trevor Long: No, it wasn't. I don't think it was a MacBook.

[00:54:53] Stephen Fenech: It was an Apple computer.

[00:54:55] Trevor Long: Something.

[00:54:55] Stephen Fenech: Or the cordless, white cordless phone as well. Yeah, yeah. Radio, 3 questions for Trev.

[00:55:02] Trevor Long: Yep.

[00:55:02] Stephen Fenech: What happens to Clare now? What happens in her life?

[00:55:06] Trevor Long: She reignites her music career.

[00:55:08] Stephen Fenech: Yes. And her— she's obviously still tight with her daughter.

[00:55:11] Trevor Long: Yeah, yeah.

[00:55:11] Stephen Fenech: All right, uh, too long, too short, or just right? It was 2:10.

[00:55:17] Trevor Long: I'd trim a bit. I'd just trim a bit.

[00:55:18] Stephen Fenech: Yeah, tighten it up a touch. I don't think it needs much to tighten up.

[00:55:21] Trevor Long: 50 would be nice.

[00:55:24] Stephen Fenech: I know you're a sub— you love a sub-2-hour movie, don't you?

[00:55:27] Stephen Fenech: Uh, and question 3: sequel, prequel, or leave it alone?

[00:55:30] Trevor Long: No, leave it alone. You reckon this is standalone?

[00:55:32] Stephen Fenech: I reckon that the prequel would be good of seeing all this drama happen, like, you know, rather than hearing about it. Imagine that's a decision they would have had to make. Okay, do we do this when, like, I suppose, these— her discovering who the ghost is and that. I imagine it happening, you're thinking 'Wow, that's quite dramatic, you know, the wife and he— she kills herself, or allegedly kills herself, and he murders her.' A sequel—

[00:55:54] Trevor Long: a prequel's no good if it's just setting up what we already now learned.

[00:55:57] Stephen Fenech: Yeah, that's true, that's true. Well, Star Wars prequels did all that.

[00:55:59] Trevor Long: They're all crap movies.

[00:56:01] Stephen Fenech: Shut up. All right, that was What Lies Beneath. Hit me with your wrap-up and rating.

[00:56:07] Trevor Long: No, I enjoyed it because it was entirely unpredictable. I didn't see any of it coming. Um, I thought the, the horror, the gore, whatever you want to call it in it, you know, the the dead bodies, the, you know, coming up from the deep and all that stuff was so well done. It felt real.

[00:56:20] Stephen Fenech: Like, well, that was my fear. I know you're not— you love realism, and I'm thinking, is he going to like this supernatural thing? Did that affect your enjoyment at all?

[00:56:28] Trevor Long: No, no, no. See, I— in my head, I wasn't thinking ghosts. I was thinking just something else. But I'm okay with ghost stories because I feel like that's kind of, kind of popular culture. But no, I, I love— I just love the story. Yeah, I think it was a well-delivered story, well-structured from start to finish, that gave enough away at enough times to give you what you needed. Yeah, without making you have to go, I need to go back and understand that better. No, it just popped. Uh, it's an 8 for me.

[00:56:54] Stephen Fenech: 8 for me too.

[00:56:55] Trevor Long: 8 for you as well. Agree, we agree. Well, there you go, Stephen. Um, I'm gonna switch things up for you, and next week I'm gonna do a movie for you. Oh my God, because I, I have a suspicion you might not have seen this, and if you have, it was probably a very long time ago.

[00:57:08] Stephen Fenech: I don't believe I have.

[00:57:09] Trevor Long: Uh, we're going to watch Malcolm. Malcolm from 1986, an Aussie Australian movie. Yeah, Aussie movie, 1986, set in Melbourne. Yep, directed by Nadia Tass, written by David Parker, starring Colin Freels and many others including Charles Budd Tingwell, um, who was in The Castle. That's correct.

[00:57:25] Stephen Fenech: Is that the question you can ask me?

[00:57:26] Trevor Long: No, your millionaire question. Malcolm in 1986 was nominated for many actor awards, then known as the AFI Awards. How many did Malcolm win?

[00:57:45] Trevor Long: Was it 4, 6, 8, or 10?

[00:57:45] Stephen Fenech: I remember the time it was pretty big, so I'm gonna go— so was it 4, 6, 8, or 10? I'm gonna go for 6.

[00:57:52] Trevor Long: It was 8.

[00:57:53] Stephen Fenech: Wow.

[00:57:53] Trevor Long: Yeah. Best Direction, Best Film, Best Original Screenplay, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Editing, Best Sound. Wow, it swept the AFI, which are now called the AFI, now called the AFI. Yeah. So I don't, I know parts of this movie, like I can describe bits of it because it's fun.

[00:58:12] Stephen Fenech: Is this the one where he drives half a car?

[00:58:14] Trevor Long: Correct.

[00:58:15] Stephen Fenech: Yeah, okay, that's one.

[00:58:16] Trevor Long: That'll be your thumbnail. Your thumbnail will be a little yellow car split in half or a Brunswick tram. Ah, yeah, I'll tip. And I believe it's available to watch on iview or Prime.

[00:58:27] Stephen Fenech: There you go.

[00:58:28] Trevor Long: But you can get those on Twitch.

[00:58:29] Stephen Fenech: I have both.

[00:58:30] Trevor Long: So that's next week, Stephen. That was What Lies Beneath. Next week, Malcolm hosted by me. I look forward to bringing it to you, mate, and see you then.

[00:58:36] Stephen Fenech: See you then.