What's up everybody? Welcome to FoundFlix. On today's Inning Explained, we're looking at Barbarian. We follow a young woman who finds her rental home booking is already occupied by a stranger. Against her better judgment, she decides to spend the night, but soon discovers there's a lot more to fear than just an unexpected houseguest.
Barbarian is definitely one of those kinds of movies that it is better going in completely blind, because it has a massive twist that really changes the movie completely. It's such a huge twist, in fact, that it has the potential to collapse the movie overall, and sends it into a much more ridiculous territory compared to where it begins. Then as more of the secrets of what's going on are doled out, things ultimately don't make a lot of sense. You kind of just have to go along for the ride. And in that way, it reminded me of Malignant.
It's just batshit crazy for the sake of it. It also has a tendency to pull back right when things really get going, and even switches perspectives completely at one point. It's quite jarring and kind of deflates the tension like, oh!
we're starting all over again. So while it does have some issues, the movie overall is still a blast. It has some absolutely memorable gross-out gags, peppered with some classic gore and horror thrills.
It's also always great to see Scream King Justin Long doing his thing, here playing against his nice guy archetype, which is a lot of fun to watch too. There are a lot of questions left in the end when it comes to the mysteries below the house, and that's why we are here today, to put everything that is there together into one whole. So let's check out Barbarian, breaking down the story, its twist including just what is lurking down in the basement, as well as explaining the ending and what it means. Rain pours down outside of a quaint-looking house, and already it somehow appears quite ominous, just by sitting there. Tess drives up and checks her phone for how to get inside, and also tellingly declines a call from someone called Marcus.
After some code issues and another decline call, she gets the box open, but there's no key inside. She tries to call the management, but only gets the answering machine. Only now does she look around at her surroundings, but we can't make out much in the dark beyond some shapes of other houses. Pulling up from the rain in her car, a light flicks on inside, meaning someone must be in there. She buzzes out the door, seeing a lanky dude wandering around inside.
He greets her sleepily, and both are confused by the situation. It seems that both of them booked the Airbnb at the same time due to some kind of error. Keith groans that the situation is unbelievable, and offers for her to come inside.
There is still a lingering air of tension because of the setup here. I mean, he is a stranger. Who knows his intentions?
Though he is able to show his own confirmation, meaning that this all is simply an honest mistake. With that, Tess decides to try and find another place to stay. But Keith suggests otherwise.
What are you going to do? Drive around in the rain all night? You know, why not just hang out here to look for a hotel? She agrees and they formally introduce themselves. He asks her if she wants some tea, and she turns him down, but he decides to make some after all.
After she makes a dead-end call, Keith remembers something of importance. There's some big convention in town, so there's no chance of her getting a room. He proposes that she just crash here, which even the idea of gives her pause. But he has no ill intentions, she can take the bedroom and he'll sleep out here on the couch, and they can sort this thing all out in the morning.
Tess agrees, but does have one issue. She's gotta have clean sheets. So they stick him in the wash, leaving them some time to wait.
She unpacks and finds his wallet going right for his ID, and he didn't lie about his name at least. She does still remain understandably on edge, locking the doors wherever she goes. She comes out to Keith, who does acknowledge the strangeness of everything. He also noticed that she didn't drink the tea that he made her, but totally gets why.
She doesn't know him, perhaps it could be poison. She's just being cautious. That's why he waited to open the bottle of wine until she was here, to assure her that he's on the level.
She appreciates the thought, but still declines a drink. With time to kill, they get to know each other a little bit better. We find out that Tess is in town for a big interview, working for a documentary filmmaker. He's curious about it, and surprisingly has seen the director's previous work.
She doesn't buy it, but he recalls specific details, meaning once more that he's not a liar. Her new film is all about how Detroit has changed in the last 10 years. Artists have come in and created communities here, just on the edge, where the houses are basically free.
This leads to discovering another connection between them, as Keith is actually part of one of those very troops that she's talking about. He's actually in town to find a new nest for his gang. Tess starts to feel even more comfortable after this, even having some wine. She complains about her current relationship, presumably with Marcus, and Keith suggests that people project their own dynamics onto us.
It's up to us to play ball or not. She tries to figure out the lesson to learn from her failed relationship. Perhaps it's that guys will walk all over you if you let them.
Keith takes issue with this, but she laughs as a dude that he doesn't get it, you know. Guys are able to make messes all the time and never have to consider the aftermath. She considers if the situation was reversed, and she wouldn't have even let him in the house in the first place.
But if she was dumb enough to let him in, she knows that he would have strolled right in. He reminds her that she did the same thing, and she argues that it was because she had to. He inquires if she's going to move on, even if that means perhaps getting her heart ripped out again.
She laments, why is it that girls are the ones that always get their hearts ripped out? But he knows girls can do the ripping too. Oh, I hear you, Keith.
Keith starts acting extra silly now, doing this whole routine thing when making the bed, and then she's giggling the entire time. Things now perhaps becoming a little bit flirty. Once the bed is made, they agree it was a nice time, and he excuses himself to the couch.
And it does appear that she's smitten, flashing a big old grin when she's on her own. She's later woken to the sounds of the door opening, along with a strange screech. She shoots up, seeing that it's wide open despite her locking it earlier. She peers through the cracks, seeing Keith is still passed out on the couch. He's not a peaceful sleeper, seeing that he's yelling and violently shaking.
She gets closer and closer, barking his name, but it does not rouse him. The door closes behind her, and she reaches out, shaking his shoulder. He jolts awake, terrified and confused by what she's doing. He gasps, but she's scared the hell out of him, and she apologizes, leaving him to get back to sleep. She can't help it, asking point-blank if he opened her door, and he shoots back, annoyed that he did not.
She sleeps the rest of the night without incident, but of course, oversleeps for her interview. Way to go. She finds a note left behind from Keith thanking her for a great night.
Stepping out, she finally gets a better view of her surroundings, and it is pretty dire. All of the other buildings are crumbling and dilapidated. Literally only the house that she's staying in looks remotely lived in. She discovers it's more of the same in the entire area, everything empty and collapsing into ruin.
The filmmaker lady, Catherine, even expresses concern after their interview. Like, seriously? There's an Airbnb in that neighborhood? She urges her to find somewhere else to stay, but Tess thinks that they're just fine.
She does take a second look at the area when coming home, and out of nowhere, a crazed man starts running up and yelling at her. She runs to the door, unlocking the box, and gets inside just in time to lock him out. Come out of that house, he yells to the door.
Well, yikes, I guess we can see what Catherine was talking about now. She calls the police about the encounter, but they are incredibly unhelpful. She's told there's no available unit, so nope, no one is coming to her aid. Thanks, guys. She manages to calm herself down with some deep breaths, but encounters another issue.
No toilet paper. She scours the house in search of a roll, eventually leading to a previously unexplored door. And lo and behold, just down in the basement is her precious toilet paper supply.
She steps down to retrieve one, but the upstairs door closes on its own, locking her down in the basement. Troublingly, she doesn't have her cell phone, and also has the only key to the house with her. Whoopsie, that's why you never put your phone down ever. Only causes problems.
Just stare at it forever. She rummages through the area and finds something strange, a strand of rope sticking out from the wall. She has to give it a tug, and it causes a hidden doorway to pop open. She stares into the dark void and gives a wise, nope.
to the idea of going any deeper. She comes up with an idea, setting up a mirror to reflect the light so she can see down the hall. It doesn't look too troubling, and she spots what looks like another door down there, and decides to venture further after all. She opens the door to the room, and it's an alarming sight, seeing a well-used cot along with a camcorder and waste bucket there, meaning that someone has been kidnapping people down here and even filming it.
Well, that's frightening. The sight sends her rushing back to the basement, hearing Keith trying to get in upstairs. She gets his attention, and they manage to get the window open, allowing him to set her free. She breathlessly tells him what she saw, insisting that they need to leave immediately.
But he's not so sure that an old bucket and cot is cause for alarm. It is a basement, after all. She decides to just leave, but he pleads for her to stay just long enough for him to see what's down there for himself. She reluctantly agrees.
Just 30 seconds is all he needs, he assures her. Okay, we'll see about that. You might be never coming back again, Keith. He storms down and she waits upstairs. He calls up that he did see the dungeon room and she shouts for him to come back, but he doesn't answer and she is forced down to shout for him, but at least remembers to catch the door this time.
Phew, that was close. She changes course and decides to go after him, putting a chair in place to keep the troublesome door ajar. She enters the dark corridor and searches the dungeon room, but there's no sign of him. She continues, scanning the room and finds yet another door.
Jeez, door city over here. This leads to an even more terrifying and cave-like lower level. She keeps yelling for him and finally gets a response, him faintly calling for help from somewhere deeper within.
She takes a moment to weigh the decision, looking back longingly towards the basement, but decides to step further into the oblivion. She hears him howling again in the distance and enters some straight-up underground catacombs. Good gravy this thing is huge!
Tess whimpers, growing more terrified with each step forward. Suddenly, Keith crawls out of the darkness, scaring the absolute crap out of her. She wants to know why he even came down here, but there's more pressing matters. There's someone else down here! and they bit him.
Uh-oh, who did that? Giant naked lady? That's probably what you thought.
Tess wants to get out of here now, but they don't agree on which way to go, tugging each other in opposite directions. Then out of nowhere, a giant naked lady appears and brutally smashes Keith's head to bits on the wall. She gets right up in Tess's face, screeching gutturally at her. Well, I don't think anybody's expected that to be the real horror lurking down in the basement because what even in the hell is that thing?
We don't get to learn more for the moment as we switch perspectives completely to another character, which is quite jarring. It almost feels like starting over again as we meet the sleazeball producer AJ. I mean, is there any other kind?
He's initially blissful in his convertible, singing along to the radio, until he gets a fateful- An actress from a pilot that he's producing has come out publicly with allegations against him, claiming that he was sexually aggressive during filming. There's gonna be a whole official investigation into it and everything. He's flabbergasted at the news, but the damage has already been done.
Even if the pilot goes forward, he likely won't be involved, meaning that he's effectively been fired. He completely loses his cool at the gravity of the situation, but things are only going to become more in the public eye, as tomorrow there's going to be a whole article about it in the Hollywood Reporter. He's pretty much blacklisted in Tinseltown, and his financial situation is grim too. At his current spending rate, he'll be completely broke in three months, especially thanks to funding two costly court cases.
However, he's confident that he will win his countersuit for defamation. It's all just a misunderstanding anyway. Even if it all was a mistake, the impact has already happened.
and his financial advisor quits as well. The next day, the shoe really drops when the article comes out. He talks to his lawyer and moans about feeling like he's on the sidelines, watching this all spiral out of control.
However, he's hopeful. If he can just have a conversation with Megan, they can get this thing all sorted out. His lawyer warns him to not contact her under any circumstances. Doing so would only cause him more problems. He then picks up on what AJ was saying about being in a rental car, and he divulges that he's up in Michigan.
His lawyer tells him it is not a good look in light of recent events, and AJ doesn't see what the big deal is. He's not under arrest, right? But he floats that that could be a possibility.
He defends that he has to scrape up some cash to be able to even pay for the cases. He's not on the lam or anything like that. He first drops by the management company to pick up the keys, and it's the same house on Barbary that he owns.
He notices Tessa's car is still there, and inside finds more evidence of them left behind, like the chair in place to keep the door open. Then even more tellingly finds their luggage and toiletries still out. He calls the company to clear things up. Is there someone staying here or what? He's told that no one has been there in weeks, and due to their policy, no maids come until the next booking.
No bookings, no cleanup. He gets upset at the policy and flips his lid, which he doesn't appreciate, and she hangs up on him. He later talks about all the Megan stuff with his mom, calling her a lying bitch.
She chides him that that is not nice, and he fires back that ruining his reputation and career isn't so nice either. She does still show him support, knowing that he couldn't have done something like that, and wants him to come to visit. He doesn't reveal that he's in his hometown, and callously hangs up on her mid-I love you when getting a business call.
Hmm, kind of a jerk, really. It's not a business call, it turns out, as he goes out for drinks with an old friend. He too wants the story set straight.
Sure, he's read what the internet has to say, but wants to hear the truth straight from AJ's mouth. He admits that they did have sex. It just took some convincing is all. He presses by what he means.
She said no or what? AJ tells her that she did at first, but then came around, and that's all there is to the story. Hmm, well, that doesn't exactly sound too innocent either. He drunkenly stumbles home later and immediately calls Megan, despite his lawyer's warning. AJ leaves her a slurred apology, saying that he's not even mad at her, and hopes that she's not mad at him.
He gives another sorry and begs for her to call back. Whoa. Way to go, AJ. I'm sure that'll... not blow up in your face.
He groans awake in the morning and faces the consequences from the night before, heading right to toss his cookies. Noticing the toothbrush, he's reminded of the weirdness and goes back to rummaging through their suitcases. He does find Tess's laptop, but is blocked by a password, causing him to flippantly toss it aside. He sits down for a cup of joe and recalls that open door. He looks for himself, calling down into the basement.
There's a loud thud and he plays macho, claiming that he has a gun and is going to come down there and blow anyone away that he sees, or come up now and he'll let them go. Nothing happens, and he psychs himself up some more, puffing, I'm a man, and I'm gonna fuck you up. He loads up with a kitchen knife and flashlight, descending downstairs. He finds the rope leading to the hidden door, and we now know what is lurking down there. Be careful, bud.
He finds a prisoner room, but is completely unbothered by it all. He's more interested in the extra square footage added to the house. After an internet search, he learns that underground tunnels can't be included in square footage, but can be listed in the total area.
Hell yeah. he proclaims to the news. He returns to the tunnels, measuring tape in hand to see just how much extra space we're talking here. He bumps into the steel door, and that's right, there's even more space.
He laughs into light, measuring the stairs, and it just keeps going down there. He passes right by several large cages, which must have been used to keep other prisoners down here as well. He stopped in his tracks, seeing a light coming from a room down the way. He goes to investigate coming to what looks like a makeshift nursery. There's blankets covering the ground and a strange old instructional tape playing regarding breastfeeding.
The lady says it's relaxing not just for the baby, but for me as well! Something starts tugging at the tape, which he lets go, clanking off into the dark. He fumbles to get his blade ready, knowing someone else must be there.
He waits a few painful moments in anticipation before hightailing it away back into the catacombs. He trips and busts his flashlight, hearing the creature growling down the hall. It walks right up on him and he's back to his feet. He trips again, falling right into a hole. Pretty clumsy, huh?
She covers the top, trapping him inside. Yet he's not alone. Tess pops out, shushing him repeatedly.
We then once more divert from the action, flashing all the way back to the 1980s, when the neighborhood was in much better shape. A man, Frank, lived there at the time, seeing him stepping outside while children giggled by on bikes. Ooh, pretty different back then.
On the radio, the newscaster discusses that Reagan has inherited the worst economy in f***ing history. 50 years, hinting at the future fate of the neighborhood. He stops by a grocery store to load up on some suspicious supplies, telling the employee that he has a baby on the way. No hospitals for him though, they're planning on doing a home birth. Hmm, okay.
Kinda starting to see what's going on in the basement, huh? She doesn't bat an eye, and loads him up with everything that'll need, including that weird breastfeeding tape. He waits later in the parking lot for a woman to get to her car, and follows her all the way home.
He dons a disguise and pretends to be with the electrical company, allowing him easy access inside the house. All he has to do is unlatch a window, leaving it open for him to return later and take the lady. We don't see this actually happen, but he clearly has targeted the woman to not only take prisoner, but use for breeding purposes. Yee-wee!
At home, his neighbor is unaware of his extracurricular activities, but does give him the unfortunate news that they're putting their house up for sale. The neighborhood is going to pot, he complains. They have to get out of here while the getting's good. As for Frank, he's adamant that he's not going anywhere. All that work on the tunnels, yeah, you don't want to have to do that shit again.
That'll take a long time. He takes his goodies and lumbers towards the basement, hearing a woman screaming from below. We don't have the full context quite yet, but now at least get that this Frank guy must have built all these elaborate tunnels in relation to his kidnappings.
Back in the hole, Tess doesn't know more than him about what's going on, but does know that it's important to stay calm around the lady. If you get upset, she gets upset. She who, he asks in confusion, and he gets to see for himself in a second. Long stringy hair makes its way through the cracks, followed by an oversized and also hairy baby bottle. She shakes it at him, grunting in command to drink it.
She shows him how it's done, gratefully slurping down. She leaps down in between them and takes Tess in her arms, grunting the word baby. She aggressively turns to him and babbles right in his face.
He can't handle it, shrieking, oh god! In response, she grabs him by the leg, dragging him away out of the hole. Oh boy.
Tess is left on her own, giving her the chance to escape. And thanks to his bad behavior, AJ is taught an important lesson in the feeding room. Accompanied by the creepy tape, Tess gets closer, hearing him screaming and crying, seeing the creature is forcing him to choke down on her nip. Ew. If he didn't want the bottle, I don't think he's gonna want that.
She slips past the room, but is caught when she runs over the measuring tape, drawing the creature's attention. She sprints all the way back to the basement, but the damn door is locked again! She smashes the window, hearing the creature's shrieks getting closer. She shimmies out the window, and is given an assist by a homeless guy, dragging her out just as the lady reaches out after her.
Woo! He already is in the know about the giant lady, and she's worried about AJ still down there. Andre has been around here long enough, knowing that there is no hope for him.
She should just be thankful she got out at all. He also tellingly says the lady is bad, but not the worst thing down there. Nuh-uh, what does that mean?
She wants to call the police, but without a phone that does prove difficult, he warns that she will come out at night. She better get going now and... definitely not be around here after the sun sets. AJ fumbles his way through the corridors and comes across a bell with a long string attached. He debates which way to go, but decides to follow the line to see where it leads.
He keeps following the cable, hearing the creature screaming behind him. He speeds up and reaches the end of the line at yet another door, but he doesn't enter. The creature growls much closer now, and he waits with bated breath. She emerges from the dark, but surprisingly does not pursue him further, instead retreating back into the shadows. On the surface, Tess manages to hoof it all the way to a gas station, and even more importantly, a phone.
AJ enters the room and is greeted by quite a stench, along with several empty cans and water bottles littering the floor, along with weird tropical music wafting from somewhere. An old man who we recognize as Frank, many years older, coughs awake to AJ's surprise. He is not looking so good nowadays, AJ asking if he's okay, and also having no idea who this guy is. Tess is able to get some cops to actually show up for a change, but they are dismissive and unbelieving of her story. Without an ID and sounding crazed, they presume that she must be on drugs or something, despite her consistently explaining she was being held captive.
Frank coughs to AJ, indicating something in the room, and he brings him a bottle of water. AJ assures him that they're gonna get out of here, but corrects, well, I am at least. He's gonna let everyone know what's been happening down here, and that thing is going to pay.
Frank shakily reaches out again, and AJ still doesn't know what he wants. So he brings the whole table over, and AJ busies himself looking for his dropped phone. Back with Tess. the cops do show up to the house, but continuously prove their uselessness.
Without any proof that she lives there, there is not much they can do. The only crime they've seen here is her breaking the window. She's exasperated, pleading for some way for them to listen, and they're called off to a more pressing matter.
She's further annoyed, and he gives her more grief for wasting their time. They can lock her up for the night just for lying. Oh, cops.
What are we gonna do with you? AJ peruses a VHS shelf filled with tapes labeled with things like bad nosebleeder or Irish accent. Gas station redhead is in the player and he curiously pops it in.
These are obviously Frank's collections of victims tapes from over the years, which AJ finds out the hard way. We only hear the tape, but it's a woman screaming in terror. I would assume it's probably what we would expect.
AJ turns to him accusatorily, asking what is wrong with him? We see that he was fiddling around for a gun, but doesn't turn it on him, putting it to his temple. I guess he's finally feeling guilty after his years of unimaginable death and damage.
AJ tries to get him to wait, and Frank fires, taking his own life. On the surface, Tess breaks into retriever. her keys and then turns her car right towards the front of the house. The creature shambles outside and she clips it on the hood, slamming it right into the wall. She keeps roaring and breaking the windshield, but she grows weaker and ceases moving.
Perhaps that's the end of the creature. Nope. Tess returns to the basement of Doom and AJ leaves Frank's room armed with a pistol.
In an unfortunate moment of confusion, Tess spots his light and calls out hello. He reactively fires, hitting her in the gut. Dang, way to go, dude.
He profusely apologizes and they help each other get back outside. He's troubled by the state of her car, but even more worryingly, the woman is gone. Uh-oh, that's a strong lady too.
He has a car, but his keys are back down in the tunnel. They don't know what to do now and decide to hobble down the road. They bump into Andre, who guides them away. He's impressed that they've survived so long and finally gives us some concrete answers behind the giant naked killer lady.
She's just some crazy lady who has been living in the house the past 40 years. She was even born there. AJ can't believe it. He's owned the house for years, and Andre knows the truth. He might have owned it on paper, but Frank never actually left.
He's been there in the shadows his whole time. He used to bring women down there and started having babies with them. Then the babies started having babies with other babies.
And you know the problem when you make a copy of a copy. You wind up with something like that killer lady. Well, that's it.
Our entire explanation behind this woman. We saw the beginning seedlings of Frank's master plan doing some kind of insidious breeding program. Based on what we saw with the cages and everything, he must have had several prisoners down there at once, even including offspring of his offspring. Pretty weird.
Also strange that there's literally no glimpse of any of these other abominations alive beyond the creature from all these various kidnappings and births for over 40 years. Only this one lady made it the distance, I guess. But then I'm also like, how exactly were they surviving down there in the dark for the past 40 years just drinking her rancid-ass milk or what?
It's just weird and another aspect of the story that just doesn't quite add up in any kind of realistic sense. There should at least be a bunch of skeletons around or something. Andre notices her wound and AJ starts getting emotional, admitting that he was responsible.
She reassures him it was just an accident, but this incident comes to mirror his feelings regarding the Megan situation. He gets more emotional saying that he hurt somebody, and that matters. He doesn't know if he's a bad person. He might be.
Or maybe he's a good person who did a bad thing. He knows that he can't change what he did. All he can do is try and fix it. Again, a clear correlation to the whole Megan thing.
I think ultimately, in that regard, he also knows that he did something wrong and sees a chance here to change his ways. Andre foolishly promises that they are super duper safe here. I mean he's been here 15 years and that lady has never showed up, not even once.
That is until right now as the creature breaks through the walls and rips off Andre's arm beating him to death with it. Well, I guess that's Detroit for you. Sheesh, tough out in the streets.
The duo make it outside but find little in the way of safety. AJ runs up a water tower and Tess weakly follows after. She croaks for him to wait but he doesn't even look back.
At the top, he spots the creature making its way up right behind her. You're gone, she reminds him, and he butterfingers it again, dropping it off the side of the tower. Man, unable to comprehend the futility of the situation, AJ convinces himself that he can get away, but Tess is gonna have to slow her down.
He grabs her by the hair, sliding her off the tower, grunting to come and get your baby. So much for that change of heart, huh? Golly, dude, pretty cold-blooded after you shot her.
Tess plunges over the side, followed soon after the swan-diving naked lady. He steps over to see the aftermath, and both are motionless on the pavement, surrounded by a pool of blood. Hey, might have worked out for him after all, you selfish piece of crap.
He first grabs the gun before approaching the bodies. Tess is still weakly gasping, and he quickly apologizes for his selfish actions. He claims he had no choice and no time to think.
Bullshit! He even excuses that she started to slip, he didn't even do anything. Oh, come on, bro.
The takeaway here is that even when faced directly with his wrongdoings, he is unable to actually confront his responsibility and grow as a person. It's all about self-preservation for him. He does get his comeuppance, as the Superpower Creature isn't dead either, somehow. It rises and lifts him by the neck, tearing out his eyes, ripping his head in half. Dang, poor Jay Long has bad luck with getting his eyes gouged out, huh?
But in this case, I'd say he definitely deserves it. Kind of a dick. The Creature turns back to Tess, her baby.
It's time to get back to the house, she tells her. Tess refuses to go back for many reasons, even physically struggling to move with her injuries. Tess brings the gun to the Creature's face. She gives a little kiss and plants it on her head, grumbling, Baby! to her.
Tess takes a shot. and wanders off into the night, surviving her bizarre incident. We end on this understandably abrupt note. There isn't too much else to do if the woman is actually dead. But I'm not so sure.
She did just survive a massive drop off the tower without injury. Who knows what she's capable of surviving? Yet there's a whole huge dangling element that I feel weirdly isn't paid off in the end. Clearly Tess had this whole experience in the armpit of Detroit, this whole forgotten underrepresented area of the city.
She even is working on a documentary with that lady about this whole thing. So it stands to reason that she would use what she went through to finally draw attention to this hidden side of the city. What happens when we leave an entire neighborhood to die?
Well, killer guys kidnap women and breed killer insane ladies who just want to have babies of their own. Should have seen it coming from a mile away. All I'm saying is this would have tied into elements brought up in the first part of the story before things went too crazy.
But for whatever reason, they don't bother to bring this back into things, which I do find a bit surprising. It really would have made the whole thing much more coherent overall and tied in the disparate first part to the... ridiculousness of the second half.
Ah well. With that, we've reached the conclusion of this scene and explained for Barbarian. Don't forget before we go, you can send me requests for any movies or TV shows you'd like to see me explain by sending them my way on any of my social media accounts at foundflix. What did you think of Barbarian and its ending? How did you feel about the twist and the change of trajectory in the story?
Let me know your thoughts down in the comments below. Make sure to like, subscribe, and follow. Thanks for watching Foundflix. See you next time.