Ep. 04-21: 12 Monkeys (1995)

An unknown virus has wiped out five billion people in 1996. Forced to live underground, only 1% of the population has survived by the year 2035. A convict, James Cole (Bruce Willis), volunteers to be sent back in time to 1996 to gather information about the origin of the epidemic (supposedly spread by a mysterious “Army of the Twelve Monkeys”) and locate the virus before it mutates so that scientists can study it. Unfortunately, Cole is mistakenly sent to 1990, six years prior, and is arrested and locked up in a mental institution, where he meets Dr. Kathryn Railly (Madeleine Stowe), a psychiatrist, and Jeffrey Goines (Brad Pitt), the insane son of a famous scientist and virus expert.

Episode 4-21

We return to the world of time travel, a concept Bruce Willis should be well-acquainted with, considering he’s starred in multiple time travel movies—The Kid (2000); Looper (2012). This time, he jaunts the years via the brilliant insanity of director, and former Monty Python member Terry Gilliam. Join us as we discuss this often overlooked gem that spawned a successful television series… two decades later. Listen, as Johnny has the Keys time-travels somewhat recklessly to save the world, searching for the origins of man’s folly amongst fools.



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Ep. 03-05: Looper (2012)

Time-travel exists, but only on the black market for those with money. When the mob wants to eliminate someone, they send the target into the past where a hitman known as a looper waits to finish the job. Joe (Joseph Gordon-Levitt) is a looper, and he does his job well — until the day his boss decides to close the loop and send Joe’s future self (Bruce Willis) back in time for execution.

As entertaining as Looper is, it is a film plagued with problems—logic specifically. Join us as we breakdown the strength and weaknesses of this cross-genre (sci-fi/mob) movie and its controversial director, Rian Johnson (Star Wars: The Last Jedi). Listen, as Johnny Has the Keys takes you to the not-so-distant future where organized crime goes high-concept.


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