Podcasts about Amsterdamned

De zeventiende aflevering van het vierde seizoen van Cinepraatjes, de podcast van Cinemaatjes vanuit het opgeknapte huis van JP. De acteur Cefas Hoofs uit de fantastische film ‘Woensdag' is met terugwerkende kracht vanaf de allereerste aflevering onze podcast aan het luisteren. JP zag de teaser-trailer van ‘Fantastic Four'. William heeft zowel HBO Max als Disney+ opgezegd, maar is begonnen met Mubi. We hebben het heel kort over de vele Oscar nominaties die de musical ‘Emilia Pérez' heeft gekregen, maar zullen dat uitgebreider bespreken in een Minipraatje. Er is ook weer een sonnet van Marino, maar we zitten waarschijnlijk weer veel te moeilijk te denken. JP zag twee films en gaf William de keuze tussen ‘Blink Twice' en ‘Nightbitch'. William zag ook veel films, maar heeft het over ‘River's Edge' uit 1986 met Crispin Glover. We trokken ‘Amsterdamned' van Dick Maas uit de kast, een film die we eerder al eens hebben gereviewd op YouTube. In de Special bespreken we een film die we eerder al eens hebben afgezet en dit keer is het de film met de veelbelovende titel ‘Hard Rock Zombies' van Krishna Shah. We spoelen even terug naar het antwoord dat we gaven op het sonnet van Marino en beantwoorden ook weer vragen van luisteraars over o.a. Bollywood films, Cinemaatjes Bier, Gremlins 2 en Goonies 2, films die we fysiek aan onze collectie willen toevoegen en films over de Amerikaanse cultuur om de huidige tijd te begrijpen. Veel luisterplezier. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

De dertiende aflevering van het vierde seizoen van Cinepraatjes, de podcast van Cinemaatjes. We staan even stil bij het overlijden van horrorlegende Tony Todd. We hebben weer een nieuw Maatje op onze Patreon-pagina nl. Yaël Pollie en die valt gelijk met z'n neus in de boter. We hebben laatst samen met Bram van ‘Moviegelul met Vrienden' een audio-commentaar track opgenomen bij ‘De Lift' van Dick Maas en dit voor onze Maatjes op onze Patreon-pagina gezet. Uiteraard is ook Marino er weer met een sonnet, die op het eerste gehoor vrij eenvoudig lijkt. JP heeft gekeken naar de nieuwe slasher ‘In a Violent Nature' met een bijzonder concept. William keek de horror-comedy ‘Ready or Not' met Samara Weaving. JP keek ook nog naar 'Saturday Night', een nieuwe film van Jason Reitman over een uitzending van het sketch-programma ‘Saturday Night Live'. We trokken weer een VHS-band uit de kast en hebben twee gasten bereid gevonden om deze hoes voor te lezen. Het is de obscure straight-to-video film ‘The Abomination'. In de Special hebben we weer iets nieuws verzonnen, wat we vaker kunnen doen en dat zal dus ook zeker gebeuren. Ook beantwoorden we weer vragen over de do's en dont's van Dick Maas' ‘Amsterdamned 2', onze favoriete triootjes in niet-porno films, films waarvan we alle tekst kunnen mee praten en films waar we dat graag van zouden kunnen, onze top 5 winterse films en een streamingdienst waarop onze gereviewde films te zien zijn en dat bracht ons op een geweldig idee! Veel luisterplezier! www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes The Abomination: https://youtu.be/6FRLB6BPT6c?si=v4AAveGvpYDKL-uZ

Pour les besoins de cette nouvelle enquête direction La Courneuve et sa cité dortoir des 4000, sa grisaille et ses matins blêmes sans espoir pour mieux tenter de s'en échapper avec Le Choix des armes, diamant noir qui oppose les générations, les approches et les territoires réalisé en 1981 par un Alain Corneau alors en pleine possession de ses moyens. Un épisode un plus long que d'habitude qui revient certes sur l'un de nos plus beaux polars hexagonaux mais aussi sur tout un tas d'autres films policiers de l'époque entre Tir Groupé, La Guerre des polices, Pile ou face etc...sous la forme de digressions passionnantes. Et pour se prêter à l'exercice de l'interrogatoire c'est au tour de Jérôme Wybon (réalisateur de nombreux documentaires, concepteur de bonus et directeur de collection pour Studiocanal avec Nos Années 70 et plus récemment Nos Années 80) d'être notre invité. Retrouvez la photo signalétique de l'invité en début d'émission ainsi que les complices (un film dans le même giron) en toute fin de podcast. Avec dans cet épisode un retour sur Amsterdamned le giallo hollandais de Dick Maas (1988) et deux titres présents sur la collection Nos Années 70 justement avec Défense de savoir de Nadine Trintignant (1973) et Le Secret de Robert Enrico (1974) Un dossier mené par Rafael Lorenzo.

De tiende aflevering van het vierde seizoen van Cinepraatjes, de podcast van Cinemaatjes. We zijn gewoon weer eens met z'n tweetjes en met Melo-Cakes. We staan even stil bij het overlijden van James Earl Jones en Pieter Bouwman. Toen we laatst checkten hadden we 814 abonnees op YouTube en we zouden het leuk vinden als we de 1000 halen. De opnames van ‘Amsterdamned 2' zijn begonnen, maar Dick heeft ons niet gebeld. William hoorde ook dat er sprake is van een remake van ‘Possession' en dat baart ons enorme zorgen. Marino heeft weer een nieuw sonnet gemaakt en we weten haast zeker dat we weten over welke film het gaat. William heeft eindelijk de ‘MCU Phase 3' afgemaakt en houdt het daarmee ook voor gezien. JP keek naar aanleiding van podcast die hij heeft geluisterd naar ‘Ronin' van John Frankenheimer met Robert De Niro. We trokken ‘School of Rock' met Jack Black uit de kast. In de Special doen we weer een ‘Cinemaatjes Revisited' waarin we een film bespreken die we een hele tijd geleden al eens hebben besproken op ons YouTube-kanaal en we kozen dit keer voor ‘Blade Runner 2049' van Denis Villeneuve uit 2017. Ook beantwoorden we weer vragen van luisteraars over o.a. een betere derde acte van ‘MaXXXine', filmmakers die in onze blinde vlek zitten, conspiracy theories, het enorme budget van ‘Rings of Power' en wat wij ermee zouden doen en minpunten van onze favoriete films. Veel luisterplezier! www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

Mother's Day (1980), Madman (1981), Pieces (1982), and Evil Dead Trap (1988) When you're talking about horror films with most non-horror fans, they usually are thinking about the slashers which they seem to encapsule all of that genre. But when us fans start to dig into that sub-genre, that's when the questions arise, parameters seemed like they have to set, even though plenty of the films go out of their way to beyond said parameters. As if any were meant to stay between the lines! Then you start to delve into when the sub-genre started, which can then start another round of questions and discussions. To help get those arguments . . . we mean discussions started, in this episode we're going to cover 4 different slasher films, granted, of varying types, but we feel still fits into the category of slasher films. And to help with this, we've invited Aaron Crowell, Managing Editor of HorrorHound Magazine back to join in the conversation.   Movies mentioned in this episode: Amsterdamned (1988), Angel Guts: High School Coed (1978), The Bad Seed (1956), Beyond the Darkness (1979), Black Christmas (1974), Blood Song (1982), Candyman (1992), Don't Go in the House (1979), Don't Go to Sleep (1982), Evil Dead Trap (1988), Evil Dead Trap 2 (1992), The Exorcist (1973), Final Exam (1981), Frankenstein's Castle of Freaks (1974), Friday the 13th (1980), Frightmare (1974), The Girl in Room 2A (1974), The Girl Next Door (2007), Halloween (1978), Hatchet (2006), House on Sorority Row (1982), The Incubus (1982), It Follows (1914), Killer Party (1986), Lady Frankenstein (1971), The Leopard Man (1943), Living Doll (1990), The Lost (2006), Madman (1981), Maniac (1980), Mother's Day (1980), Mother's Day (2010), My Bloody Valentine (1981), Offspring (2009), Paranormal Activity (2007), Peeping Tom (1960), Pieces (1982), Psycho (1960), Rape Man (2008)The Rift (1990), Satan's Blood (1978), Scream (1996), Slaughter High (1986), The Slayer (1982), Sleepaway Camp (1983), Slugs (1988), Sting of Death (1965), Supersonic Man (1979), Superstition (1982), Terrifier (2016), Texas Chain Saw Massacre (1974), Thanksgiving (2023), The Thing (1982), Thirteen Women (1932), Tourist Trap (1979), The Woman (2011), You're Next (2011)

Deze week: acteur Huub Stapel. Programmamaker Rosalie Dielesen gaat in gesprek met de acteur, interviewer, presentator en theatermaker. Hij werd voornamelijk bekend door zijn werk met Dick Maas, zoals de serie Flodder en de horrorfilms De Lift en Amsterdamned. Hoe gaat deze mediaduizendpoot om met de verscheidenheid aan rollen? En hoe gebruikt hij persoonlijke ervaringen in zijn werk?In deze wekelijkse talkshow van De Balie interviewen programmamakers de makers die hen inspireren. Van cabaretiers tot schrijvers en van theatermakers tot kunstenaars.De podcast wordt geïntroduceerd door programmamaker Rokhaya Seck.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

LuMens - Seizoen 3: Het verschijnende pad Help mee dit groeiende kanaal verder te brengen om meer mensen te inspireren. Als je waardeert wat wij maken, abonneer je dan op dit kanaal, zet de meldingen aan en verspreid onze content via je eigen socials en in je eigen familie/vriendengroepen. Heel veel dank daarvoor! Jouw steun (en financiële bijdrage) zorgt voor de voortgang, kwaliteit en groeiend bereik van LuMens. https://www.tijdboeklumens.nl  LuMens #309 Tijn Touber, mysticus, onderzoeker en auteur van Timebender Podcast seizoen 3, aflevering 9 (S03E09) De functie van onlicht In deze videopodcast gaan wij op bezoek bij Tijn Touber op zijn hippie-woonboot, gelegen aan het water op een prachtige plek in Amsterdam. Tijn is auteur, muzikant, journalist, inspirator en meditatieleraar en schreef diverse boeken over kunst, verlichting en zijn innerlijke avonturen. In 2019 verscheen zijn veelgeprezen boek ‘Time Bender, de man die de aarde kwam redden'. De langverwachte opvolger ‘Time Bender en de opkomst van Anika Laroo' kwam begin dit jaar uit. Tijn is daarnaast een veelgevraagd spreker en geeft Stilte Retraites, Sound Healings, Time Bender Events, Meditatie Cursussen en online events.  Tijn Touber is van huis uit journalist en dat zie je terug in zijn diepgaande onderzoek naar wat er allemaal gaande is in deze wereld. Hij is als geen ander in staat om de ingewikkelde materie die hij onderzoekt, simpel en behapbaar te maken voor een breed publiek. Maar hij is vooral bekend geworden als oprichter van de succesvolle band ‘Lois Lane' waarmee hij meer dan 100.000 platen verkocht. Hij schreef onder meer de titelsong voor de Nederlandse film en kaskraker Amsterdamned. Na dit muzikale avontuur ging hij zich toeleggen op bewustzijnsontwikkeling en gaf meditatietrainingen aan onder andere de Amsterdamse politie, de Koninklijke Landmacht, delinquenten in de Bijlmerbajes, academische ziekenhuizen en bezoekers van Lowlands. Daarnaast is Tijn een veelgelezen en -geprezen auteur en initiatiefnemer van meditatienetwerk Stadsverlichting met zo'n 1500 huiskamers, Schoolverlichting, Kidsverlichting en de Gevonomie. Volgens Tijn zitten we in een overgangstijd, die je ook wel een crisis kunt noemen. Een fase waarin het oude niet meer werkt en het nieuwe nog niet werkt. Steeds meer mensen gaan zien en voelen dat dit systeem, deze werkelijkheid niet meer functioneert. Maar uiteindelijk speelt zich dat allemaal in onszelf af. Wat deze tijd dus vraagt is om naar binnen te gaan en je af te vragen wat voor jou waar is en vooral hoe je in liefde blijft. Als je naar binnen kijkt en dus niet meer de vijand buiten jezelf zoekt en je realiseert dat die vijand ook in jou zit en als je die kunt vergeven, dan maak je de echte vijand in feite onschadelijk. Het gaat dus vooral over de reis naar binnen. Tijn ziet het potentieel dat wij meer vanuit een verlichte staat kunnen leven en daar komt zijn passie vandaan. Zijn grootste missie is om ... .....om steeds onafhankelijker/zelfstandiger te worden nodigen we je uit om verder te lezen op onze eigen website https://www.tijdboeklumens.nl/podcast-tijn-touber Tevens kun je je op onze site aanmelden voor onze  nieuwsbrief. Zo blijven we in directer en onafhankelijker contact met elkaar.  Bestel ook absoluut onze Tijdboeken om een documentatie in huis te halen van de krachtigste visies bij elkaar, gebundeld in een premium hardcover met goudfolie artwork en fractal imprint. https://www.tijdboeklumens.nl  Tot slot: als je het waardevol vindt wat wij maken, dan vragen we je graag om een vrijblijvende vergoeding via onze site of direct via iDeal (https://bunq.me/LuMens). Je houdt ons daarmee op de been, want we blijven dit werk enorm graag voortzetten maar daar hebben we hulp bij nodig. Enorm veel dank dus voor ieders bijdrage, al is het maar een klein gebaar, het maakt hét verschil voor onze draagkracht. Onze wens is dat het positieve, niet-polariserende en verbindende geluid van LuMens steeds meer gehoord en aangereikt  kan worden, om de toename van spanning en strijd in de wereld te kanaliseren naar een constructief alternatief. Het delen van onze content wordt dan ook zeer gewaardeerd! https://www.tijdboeklumens.nl/doneren    #zielsgeluk #manifesteren #bewustzijnsontwikkeling #christusbewustzijn #floreerspiraal

Bring plenty of cash, 'cause "Accademia Giallo" is going Dutch with our live round table review of Amsterdamned!In Dick Maas' 1988 thriller, a hard-boiled police detective sets out to capture a gruesome serial killer terrorizing the canals of Amsterdam.Join us as we clog the channel with various skewed angles --and take your questions, comments, and Super Chats!Show LinksWatch the Amsterdamned trailer.In honor of Peter Cushing's birthday, check out Horror 101 w/ Dr. AC's recent round table retrospective of the Hammer Frankenstein films (featuring Ian)!And be sure to pick up your copy of Blake's Scored to Death album (available on CD or the sweet mystery-color vinyl that Ian showed off during the show)!Support all of our terrifying teachers' axe-tracurricular activities!Stay studious with Aaron Christensen at Horror101 with Dr. AC!If you dare, venture down into Kitley's Krypt with Jon Kitley! And listen to Jon's scary-good podcast, Discover the Horror!Get devious with Bryan Martinez's Film Deviant podcast!And check out his YouTube show, The Giallo Room!Buy J. Blake Fichera's "Scored to Death" Volume I and II on Amazon (mentioned in the show).And catch up with classic episodes of his Saturday Night Movie Sleepovers podcast!Continue your education with our "Accademia Giallo" Playlist!

On this week's episode, Todd is joined by Simon Appleton from The Movie Moustache to look at the 1988 dutch slasher Amsterdamned.

L'investigatore Erik Visser indaga da incessantemente la caccia ad un feroce e imprendibile serial killer in muta da sub, che emerge dai canali di Amsterdam per mietere vittime. Il regista de L'Ascensore (bellissimo!) realizza qui un poliziesco decisamente più canonico e dal taglio maggiormente televisivo, ma non per questo meno avvincente e ben girato in tutti gli aspetti. Originale l'ambientazione e pure l'assassino subacqueo. Un thriller gioiellino di fine anni 80 che non si è cagato quasi nessuno, ma che ha una propria identità ancora solida, almeno per quanto mi riguarda.

De twintigste aflevering van het derde seizoen van Cinepraatjes, de podcast van Cinemaatjes. Iedereen allereerst een gelukkig nieuwjaar. Vorige aflevering zogen we een verhaal uit de duim en gaf Marino van Liempt ons het idee voor het plot en beloofde ons biertjes wanneer we er iets van konden maken. Dat bierpakket hebben we ontvangen en trekken we open. En dat is niet zomaar een bierpakket, dat is een filnk bierpakket… Een kast van een bierpakket. We hebben ook twee nieuwe maatjes op Patreon nl. Mima Kake en everyth1ng.dies. We hebben zowaar een echt nieuwtje en omdat we het echt nieuws vinden hebben we de jingle weer even afgestoft. Er komt nl. echt een tweede deel van ‘Amsterdamned' van Dick Maas, de man die we graag eens als gast in de podcast willen hebben. Uiteraard niet alleen een bierpakket, maar ook weer een sonnet van Marino. Dit keer eentje die we makkelijk konden raden. JP keek ‘Thanksgiving' van Eli Roth. William keek op Amazon Prime de nieuwe film van Emerald Fennell ‘Saltburn', sterker nog hij keek ‘m zelfs twee keer. JP keek ook nog de nieuwe film met Nicolas Cage ‘Dream Scenario'. We trokken ‘Jay & Silent Bob Strike Back' uit de kast en hebben het over de blow-periode van zowel Kevin Smith als van onszelf. In onze Special bespreken we onze Top 5 van 2023, zowel films uit 2023 als films die we voor het eerst zagen in 2023. Uiteraard beantwoorden we ook weer vragen van luisteraars over onze goede voornemens voor 2024, het gebrek aan nostalgie voor videobanden, boeken die we graag verfilmd willen zien, de slechtste film van 2023 en welke beroepen we willen uitoefenen in Hollywood. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

Director Dick Maas, producer Hans van Dongen and moderator David Gregory

Wil je nog een unieke mok of glas van "Groeten uit het Zuiden"? Stuur dan een mailtje naar: groetenuithetzuiden@gmail.com

This week on the Bad Movie Night Podcast we talk about the 1988 thriller movie, Amsterdamned Become a Patreon at www.patreon.com/badmovienightshow

▸ De film 'Amsterdamned' krijgt van ons: 3,5 Sterren! ▸ Volg De Video Corner ook op TikTok, Instagram en Facebook: https://linktr.ee/devideocorner/ ▸ Kijk voor onze volledige ratinglijst op Letterboxd: https://letterboxd.com/DeVideoCorner/ ▸ De Video Corner is een productie van Back Corner: ⁠⁠https://www.back-corner.nl⁠/ ▸ Voor samenwerkingen kunt u mailen naar: adverteren@back-corner.nl (00:00:00) Intro (00:01:17) Amsterdamned (00:18:20) Conclusie & Rating (00:22:00) Outro

This episode we review the semi-classic Dutch slasher/giallo, Amsterdamned! Film stars: Huub Stapel, Monique van de Ven https://letterboxd.com/film/amsterdamned/

63. "Some of the chewbacca outfits were a bit ropey." Hello again you beautiful seeker of the weird and wonderful, it's good to have you back in the bowels of the dungeon. This episode the dungeon duo visit the land of clogs, tulips and windmills. Theres no time for a cup of tea and a sandwich in a ganja cafe though because a murderous frogman is stalking and terrorising the canals of Amsterdam! Can maverick cop Eric Vissor get the girl and catch the killer? That's right listener, this week our main feature is the 1988, sub aquatic, Dutch slasher; Amsterdamned. Also popping up in the chat; Grant Morrison's The Invisibles, the Matrix movies, Waxwork and Fortch reveals his fear of the London underground map after a visit to the star wars fan expo. Warning!! Contains drunken opinions and the usual level of ignorance that could offend. Hope you get some sort of enjoyment from all this, if you do, why not like and share this podcast? #amsterdamned #theinvisibles #thematrix #waxwork #starwarsfanexpo

De tiende aflevering van het derde seizoen van Cinepraatjes, de podcast van Cinemaatjes. William schuift direct na een werkborrel aan bij JP, dus dt belooft wat. We hebben het even over de acteurs- en schrijversstaking in Hollywood. Vlak na onze ‘Amsterdamned' review op YouTube, kwamen Dick Maas en Huub Stapel ineens met het nieuws dat ze bezig zijn met een deel twee hiervan. Hebben we ze wellicht geïnspireerd? William keek met z'n vriendin naar ‘Frankenstein' en kwam op het idee om hiervan een Lego-set te maken. Onafgesproken bleken we allebei de Nederlandse horrorfilm ‘Moloch' te hebben gezien. JP keek ook nog naar de slasher 'Sick' uit 2022, die werd geschreven door de bedenker van ‘Scream'. William waagde zich ook aan ‘Orphan: First Kill' en keek ‘m zelfs af. We trokken een DVD uit de kast, die ooit behoorde aan de vader van een vriend nl. de film ‘Boyhood', maar de man had een apart DVD-systeem en hierdoor bleek er meer te zijn dan alleen deze film. In onze Special bespreken we onze top 5 vampierenfilms, maar ook een aantal iconische vampieren. En uiteraard beantwoorden we ook weer vragen van luisteraars over o.a. onze favoriete wijn en biertjes, films met Tom Cruise, filmcomponisten, wij van ons twee de beste acteur is en een eventuele TV-zender met alleen maar gave films en series. www.youtube.com/@cinemaatjes www.instagram.com/cinemaatjes013 www.facebook.com/cinemaatjes www.patreon.com/cinemaatjes www.letterboxd.com/cinemaatjes

Hip Hoi Hoera liefste luisteraars! Het is weeral feest. Onze Zwino telt weer een jaartje bij op zijn verjaardagsteller en dan krijg je bij de Movie Matters Podcast de scepter in handen. Zijn adoratie voor alles wat cult is, leidde hem, dankzij een documentaire van een jaartje geleden, naar de Nederlandse god Dick Maas. De held die ons Flodder gaf, verdiende een plekje in de schijnwerpers. Daarom werden De Lift, Amsterdamned en Quiz uitgekozen. Daarna trokken we de cinema in, voor een D/C blockbuster van formaat. The Flash!!! In de volgende aflevering wordt het weer iets anders: de landsgrenzen vormen geen belemmering. We doen van Franse slag. Tot de volgende!!!  jullie kunnen ons ook mailen naar moviematterspodcast@hotmail.com Volg ook onze socials: (1) Movie Matters Podcast Op facebook en op instagram: @_moviematterspodcast_ • Volg ons via Letterboxd: Zwino: ‎ThomasZwino's profile • Letterboxd Peer: ‎Lpereboom's profile • Letterboxd Tim:  ‎Tim Poelman's profile • en https://boxd.it/4Y95L En Join onze discord waar we samen gezellig over films kunnen praten: https://discord.gg/Krq6uXGWFm

Welcome one and all to episode 169 of the "What's Real?" podcast! This week's opening segment is a huge review of AEW's "Forbidden Door 2". Then, the guy's head on down to the good ole' drive-in. It's a breakdown of the latest "Last Drive-In" with Joe Bob and Darcy. This week covers "Sharknado" and "Amsterdamned". Then, it's "Darkside of the Ring". The guy's review season four, episode three, "What Happened to Doink the Clown?" Then, it's the latest edition of "TNP" before a hiatus. The most explosive segment in weekly podcasting goes out with a bang. It's the return of Don "The Dragon" Wilson with 1992's "Black Belt". "Goofs R' Goofs" closes out the episode!Please enjoy responsibly. PRESENTED by churchillpictures.com and GROSSFEST 2023 Timestamps: 0:00:00 - Review: AEW's "Forbidden Door 2" 0:40:30 - The Last Drive-In: Sharknado (2013) 0:55:25 - The Last Drive-In: Amsterdamned (1988) 1:06:49: Dark Side of the Ring: "What Happened to Doink the Clown?" 1:28:40 - Thursday Night Prime: Black Belt (1992) 1:42:50 - Goofs R Goofs Thanks for Listening!

Jeremy is joined by Chris Arnsby for a discussion of 1988's Dutch action thriller Amsterdamned, written and directed by Dick Maas. Their conversation covers a range of topics including ITV's overnight schedule, a real-life kidnapping, The Quizmaster Murders, the Godzilla threshold and Keeping Up Appearances.Trailer: https://www.youtube.com/watch?v=oCuxQ8owFgg&pp=ygUUYW1zdGVyZGFtbmVkIHRyYWlsZXI%3DTheme song music video: https://www.youtube.com/watch?v=xeszsmEhDYo&pp=ygUMYW1zdGVyZGFtbmVkThat boat chase: https://www.youtube.com/watch?v=z1PZAfdYwQ0&pp=ygUXYW1zdGVyZGFtbmVkIGJvYXQgY2hhc2U%3D

Greetings horror fans and welcome to the final installment of Honoring Diversity Month which is the theme for April where the crew reviews movies from around the world. Join your hosts Austin and his special guest Mikey (Slashers Podcast) as they talk about Amsterdamned! The conversation starts off with some recent news in horror and some Diversity Month facts as well. After that, they move on to the IMDb summary portion of the episode and follow that up with a spoiler free review of Amsterdamned. Sit back, relax and enjoy the conversation! Stay Spooky! In honor of this month, Frightmares is spotlighting the American Civil Liberties Union charity which fights to protect civil liberties and rights for all Americans in courts across the country. The link has been provided below if you would like to show some support. ⁠⁠⁠https://www.aclu.org/about/aclu-history⁠ Check out the Linktree below for all our social media sites as well as the crews Letterboxd pages and much more!  linktr.ee/frightmarespodcast  stayspooky@outlook.com  Timestamps for episode.  Intro - 0:00 - 5:47 Horror News - 5:47 - 23:28 Diversity Month Facts - 23:28 - 25:27 IMDb Summary - 25:27 - 41:39 Review - 41:39 - 58:54 Wrap Up and Ratings - 58:54 - 1:01:58 Outro - 1:01:58 - 1:04:06

Fresh (admittedly late) back from our trip to Amsterdam, we explore the dark and haunted side of that beautiful city. Join us... if you dare!

The Alan Cox Show

Een nieuwe Toute Fabienne op GoodLIFE Radio gemist? Tatum Dagelet is actrice, presentatrice en schrijver. Ze groeide op in een Amsterdams kunstenaarsgezin. Op elfjarige leeftijd speelde ze haar eerste rol, in de film ‘Amsterdamned'. In 1994 studeerde ze aan de Hogeschool voor de Kunsten in Utrecht, waarna er rollen volgden in onder meer de, toen razend populaire, serie Fort Alpha en in diverse theaterproducties. De serie ‘Brutale Meiden' die ze samen met Jennifer de Jong ontwikkelde en presenteerde, leverde Tatum grote bekendheid op. Naast acteren en presenteren schrijft Tatum sinds 2002 columns en interviews voor diverse magazines. Over haar scheiding, scheiden in het algemeen en het alleenstaande moederschap schreef ze in 2011 het boek ‘Drinken, vloeken en hopen dat je bemind wordt'.  Nina de Koning is een DJ en producer die weet hoe ze de aandacht moet trekken. Terwijl ze een breed scala aan genres mixt en vermengt tot haar eigen technogeluid, is het eigenlijk de klassieke acid-vibe die domineert. Nina is opgegroeid met de klanken van eind jaren 90 house en trance en momenteel runt ze haar eigen platenlabel ‘The Factory'. Haar vroege obsessie met muziek in het algemeen leverde haar een grote verzameling cd's en vinyl op en daar draait ze nu ook mee. Verder speelde ze eerder in zalen als Ruigoord, Thuishaven, Reaktor, Club Church & Shelter Club London en bracht ze muziek uit op labels als Everyone on Acid en Neoacid. Je hoorde in Toute Fabienne een mix van 90's techno, kun jij raden of het muziek uit de 90's is of toch muziek van nu door middel van een quiz? Natuurlijk was er ook deze aflevering weer een Top 5. Dit keer met de oproep: wat was jouw favoriete live performance in de 90's? 'Toute Fabienne'; dit keer niet op TV, maar op GoodLIFE Radio. Het programma Toute Fabienne is de radiovariant van het gelijknamige TV programma dat Fabienne de Vries in de jaren 90 dagelijks op de populaire muziekzender The Music Factory (TMF) presenteerde. Alleen nu in een nieuw jasje. Met alle elementen die je nog kent van Toute Fabienne op TV, zoals muziek, entertainment, kunst, cultuur en veel interactie. Toute Fabienne met Fabienne de Vries hoor je elke laatste donderdag van de maand tussen 17:00 en 18:00 uur op GoodLIFE Radio.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   TRANSCRIPT   From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

ARE YOU READY TO GET SLICIN & DICIN WITH SIR. STURDY HORROR FANS?   IF YOU DON'T KNOW BY NOW I AM YOUR HOST SIR. STURDY.   TUNE IN THURSDAY NIGHT AT 8:00 PM EST FOR THE LIVE REVIEW OF AMSTERDAMNED .    AMSTERDAMNED IMDB  (1988)  https://www.imdb.com/title/tt0094651/   LET US KNOW YOUR THOUGHTS AND RATINGS OF THIS MOVIE IN THE COMMENTS.   DON'T BE SCARED TO LIKE SHARE & SUBSCRIBE   WELCOME TO THE MADNESS!!!!!!! SUPPORT THE FIGHT!!!!!!! https://www.gofundme.com/f/support-through-my-fight?utm_campaign=m_pd+share-sheet&utm_content=undefined&utm_medium=copy_link_all&utm_source=customer&utm_term=undefined WE SHOULD ALWAYS HELP ONE ANOTHER WHENEVER WE CAN https://www.gofundme.com/f/rsnrc-in-need-of-blessings?utm_campaign=m_pd+share-sheet&utm_content=undefined&utm_medium=social&utm_source=facebook&utm_term=undefined   FACEBOOK USERS WANT YOUR NAME AND PIC TO SHOW UP NEXT TO YOUR COMMENTS? CLICK THE LINK BELOW!! https://chat.restream.io/fb   SIR. STURDY'S WEBSITE https://www.horrorwithsirsturdy.com/   THE Z NETWORK LINKTREE https://linktr.ee/THEZNETWORK TELL YOUR FAMILY, FRIENDS, ENEMIES, CO-WORKERS, BOSSES, NEIGHBORS, STRANGERS, TELL EVERYBODY ABOUT HORROR WITH SIR. STURDY..   IF YOU EVER WANT TO COME ON HERE AND TALK SOME HORROR EMAIL ME AT  HORRORWITHSIR.STURDYGUESTS@GMAIL.COM    I'LL SEE YOU IN YOUR NIGHTMARES!!!!   #TEAMAJ #TEAMDANAE #sirsturdy #horrorwithsirsturdy #horrorpodcast #sturdymerch #livewithsturdy #podcast #supportindiepodcasts #horror #watchwithsturdy #tuesday #thursday #8pmest #horrormoviereview #AMSTERDAMNED  #theznetwork #illseeyouinyournightmares #RIPDMX #RIPKODA #99

Daar is ie dan eindelijk, de horror special terwijl we ons warm maken voor Halloween aka spooky season. Koos en Jelle dragen hun favoriete horror films aan specifiek uit de jaren '70 en '80. Werk van onder andere Stephen King, George A Romero, Brian De Palma en Ridley Scott komen allemaal aan bod. De jaren '70 horror films hebben een harde rauwe eigen stijl Koos heeft gekozen voor de jaren '70, met name om de rauwe randjes die dat tijdperk met zich meedraagt. Een unieke periode ook in cinema. Om het aanbod zo divers mogelijk te houden heeft Koos ervoor gekozen dat de aanbevelingen nog in kleine subgenres kunnen worden onderverdeeld. Het is uiteindelijk een top vijf geworden, maar Gamekings zou Gamekings niet zijn als we daar nog een lange lijst aan honorable mentions aan vastplakken. Zo passeren o.a. Invasion of the Body Snatchers, Tales from the Crypt, The Hills Have Eyes, Halloween, The Texas Chainsaw Massacre en Nosferatu the Vampyre de revue. De jaren '80 horror films ontdekten obscure nieuwe subgenres Jelle is gegaan voor de jaren '80 en heeft naast zijn lijst van honorable mentions een aantal iconische films uitgekozen van legendarische regisseurs waaronder één van zijn favorieten: Peter Jackson's Bad Taste. Echter zul je ook films als Christine, The Dead Zone en Amsterdamned voorbij zien komen. Daarnaast heeft Jelle voor zijn nummer één aanbeveling wel een hele bijzondere op het lijstje staan, we zijn benieuwd of jullie hem goedkeuren! Stem op Nerd Culture bij de Podcast Awards! We hadden het stiekem eigenlijk niet meer verwacht, maar de nerd army kwam samen en maakte zich sterk voor de podcast. Dat wil zeggen, we zijn genomineerd voor Podcast van het Jaar in de categorie Media & Entertainment! Natuurlijk willen jullie first en foremost bedanken voor het supporteren en nomineren van onze podcast. Secondly, willen jullie vragen om op ons te stemmen voor Podcast van het Jaar. Stemmen kan tot 6 november via deze link!

31 Days of Halloween continues with a Dutch giallo by way of Jaws in 1988's Amsterdamned. ENDING MUSIC: Amsterdam by The Dreadnoughts Support TWoRP Contact Us talkwithoutrhythm@gmail.com

Follow us on Twitter and Instagram - @Reviewedtodeath Music: Amsterdamned by Lois Lane - https://www.youtube.com/watch?v=wYsoZmU3gR0 All additional music provided by Groove Witness - www.groovewitness.us Read our companion written reviews - imgur.com/user/trojaSpaceBandit --- Send in a voice message: https://podcasters.spotify.com/pod/show/reviewedtodeath/message

Merry Dick Maas everybody! This week's bonus episode sees our hosts Dominic Lawton & Ken B Wild wading into the murky waters of Amsterdam's canals as they cover the 1988 film - AMSTERDAMNED. The boys discuss the hero's misunderstanding of quips, the killers affinity for diving based weaponry and of course, some of the shoddiest police work you'll ever see! Meanwhile, Dom tries in vain to piece the evidence of the case together whilst Ken goes whoopin' and a hollerin' at the films main set piece - a speedboat chase through Amsterdam! Have you got a question or would like to send us your own film pitch that we will read out on the podcast? Email us! Visit our website for more episodes & written reviews : WWW.BADMOVIECULT.COM Follow us on TWITTER Follow us on INSTAGRAM Join us on FACEBOOK Dominic Lawton can be found on TWITTER Ken B Wild can be found on TWITTER Got a spare minute? Leave us a rating or review on iTunes!

All comments regarded the Dutch are made purely for comedic value - cause really if we could have the chance to live in Amsterdam we probably would.Instead were stuck watching this movie, but at least you can come along with us?

Join me for a dark journey through the canals of Amsterdam in this Dutch serial killer film! The water is filthy! A hard-boiled police detective sets out to capture a gruesome serial killer terrorizing the canals of Amsterdam. The city is murder The danger lies just below the surface Be glad you're afraid. It means you're still alive.

It's felt like the year of Dick Maas at Imported Horror. We've got an unashamed nostalgic attachment to Dutch B-cult classic Amsterdamned, which we watched this summer, and we're finishing the year with the yule tide terrors of Saint. The crew explores differences between Dutch and American holidays, including the super racist "Zwarte Piet" tradition. Plus, we look back on 2021 and forward to plans for the new year. Motion Picture Terror Scale: 1. Quality: 3 (Marcus & Melissa) / 4 (Grady). Enjoyment: 3 / 5 / 4

Welcome to Giallo of the Month Club! On this episode, we review AMSTERDAMNED (1988). Follow the podcast on Instagram + Twitter / Follow host Dianna on Instagram + Twitter + Letterboxd / Guest host Wade Brown + Wade's short films / Logo by Matt Gauck / Music by Dream Division Spoiler warning: Giallo of the Month Club explores, in depth, subversive themes and social relevance surrounding the giallo film genre. Each episode may contain spoilers.

Trundle the sinister pavements of gloriously lurid Amsterdam and the melancholic paths of Venice as we tour two terrifying examples of tourist locations gone wrong! Nasty Pasty proudly welcomes you to 1988's Amsterdamned and 1973's Don't Look Now!

In deze aflevering dealen we weer eens met trauma maar is het ook gezellig met onze gast/co-host Nathan Brooks trans in amsterdam expo healing power expo Nimco happy, Tulsastudio, Speak up world Macaulay Culkin, Tio lelieveld Mr leather netherlands 2021, summer walker

Tijn Touber is heel veel. Hij is schrijver, muzikant, inspirator en tevens de oprichter van de band Loïs Lane. Hij schreef de titelsong voor de Dick Maas-film Amsterdamned, geeft trainingen en schrijft boeken.Voor Tijn Touber was de periode tussen zijn zestiende en zevenentwintigste een en al seks, drugs en rock-'n-roll. ‘‘Ik ben geboren in 1960 en begon in mijn tienerjaren te spelen in bandjes. Het was punktijd en veel drugs hoorde daarbij. Daarnaast hadden we een heel donker toekomstbeeld.'' In deze wereld met de mentaliteit ‘no future, fuck the system' groeit Touber verder op. ‘‘Toen ik eenentwintig was ontmoette ik Monique Klemann. Naast dat we een relatie kregen, ontstond de band Lois Lane. Een muzikaal groot succes voor ons beiden.''Loïs LaneDe band van de zussen Klemann is een succes, maar medeoprichter Touber kon daar niet van genieten. ‘‘Zelfs als we een hit hadden, kon ik daar nooit echt blij om zijn. Genieten vond ik lastig. Ik was allang bezig met wat er na deze hit zou komen. Dat extremisme zit nog steeds in me, maar weet ik nu te handhaven.''Allemaal verlichtTouber had steeds meer drugs nodig en wist dat hij dit nooit lang nog zou volhouden. Het was het moment waarop hij tot inkeer kwam. ‘‘Ik ontdekte de kracht van meditatie. Het heeft me geholpen om balans aan te brengen in mijn leven. Ik zie het nu als mijn missie om andere mensen te laten zien dat ze verlicht zijn. Zolang je denkt dat je verlicht moet worden zit je in de valkuil dat we steeds op weg zijn iets te worden. Rijker, beroemder, verlichter. De les die ik naar buiten wil brengen is dat iedereen allang verlicht is. Als iedereen gaat ervaren dat in zichzelf en in anderen te zien, dan krijg je een heel andere wereld. Dan hoeft niemand te vertellen dat regenwouden platbranden niet goed is of dat we geen oorlog moeten voeren. ''Zie het privacybeleid op https://art19.com/privacy en de privacyverklaring van Californië op https://art19.com/privacy#do-not-sell-my-info.

Old friend and current Massachusetts resident, Robbie Smith comes on to talk about what he's seen at Fantastic Fest, living in a historic home, and his recent ventures with film festivals and upcoming projects. Get Robbie's shorts on VHS here: https://alreadydeadtapes.bandcamp.com/album/10-short-films Info and everything else: https://robertsmithmaps.myportfolio.com/  Films: Hush (2016), Midnight Mass (TV), V/H/S/94 (2021), We Are the Flesh (2016), Agnes (2021), Climate of the Hunter (2019), Knocking (2021), Candyman (1992), Name Above Title (2020), Beyond the Infinite Two Minutes (2021), Life (1999), 10 to Midnight (1983), Silent Rage (1982), Amsterdamned (1988), The Lift (1983), Baby Walkure (2021), Bijitâ Q (2001), Nr. 10 (2021), Old (2021), Borgman (2013), Caveat (2020), Luzifer (2021), To the Night (2018), Transit (2018), Kandisha (2020), Among the Living (2014), Copshop (2021), Stretch (2014), River of Fundament (2014), The Stone Killer (1973), Hard Times (1975), Kinjite: Forbidden Subjects (1989), Satantango (1994). The Golden Glove (2019), Bloody Oranges (2021), Mother Schmuckers (2021), The Devils (1971), Monty Python and the Holy Grail (1975)   Hey, we're on YouTube!  Listening on an iPhone? Don't forget to rate us on iTunes!   Fill our fe-mailbag by emailing us at Podcast@TheOverlookTheatre.com    Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)

There's a killer elevator murdering people! Sounds exciting, right? Sad news: It's underwhelming compared to Dick Maas' later films. Amsterdamned and Prey/Uncaged were confidently ridiculous but, unfortunately, The Lift felt unsure of itself and unfinished. Motion Picture Terror Scale: 1. Quality: 1 (Marcus & Grady) / 2 (Melissa). Enjoyment: 1 (Marcus & Melissa) / 2 (Grady)

Happy Friday! Talking about middle of the road teams. Amsterdamned is dope movie too plus we got a 1988 hip hop mix Playlist: Biz Markie - Make Music with your Mouth Biz Big Daddy Kane - Ain't no Half Steppin' NWA - 8 Ball Eazy-E - Eazy-Duz-It This podcast is powered by Pinecast.

There's a silent, submersible killer stalking the canals of Amsterdam. Nobody is safe - not hookers, not sunbathers and certainly not the beautiful new girlfriend of the city's top cop. This shameless romp through 1980s horror and action tropes is perfect for a "so bad its good" midnight feature. Also, if you were a tourist, what monster would you rather be stalking you in the canals? Motion Picture Terror Scale: 1. Quality: 4. Enjoyment: 5. Articles mentioned in this episode: "Interview with Dick Maas (Amsterdamned)" by Christian Sellers in Love it Loud "Loïs Lane - Amsterdamned," music video on YouTube "Sinkholes, Collapsing Canal Walls, Rickety Bridges: Amsterdam Is Crumbling," by Thomas Erdbrink in The New York Times "Rembrandt's Damaged Masterpiece Is Whole Again, With A.I.'s Help," by Nina Siegal in The New York Times

Amsterdamned (1988) Category: Detective 1/3 Dan takes us through the murderous canals of the Netherlands. Don't worry, there are many stop along the way to take a food break. The gang also shares condom knowledge. There are so many scuba tubes in this one but it leads to one hell of a boat chase.  Live Mas, Dick Maas. -Crash and Burn 

datum: 29 april en 5 mei 2021 gasten: Xander De Rycke, Sven De Ridder en Jeffrey De Vore Op 21 april kwam de DVD uit van de documentaire over Dick Maas, de Nederlandse regisseur van De Lift, Flodder, Amsterdamned, Sint en Prooi. We spreken met Xander en Sven over die films en ook met de regisseur van die geweldige documentaire: Jeffrey De Vore.

Ο Στέλιος Καρακάης συνεχίζει τις ξέφρενες και πχιοτικές επιλογές του με το Amsterdamned, μια ταινιά που ανήκει ξεκάθαρα στο εκλεκτό Stelios Tour of Europe, πράγμα που σημαίνει ότι ΕXEI KI AΛΛΕΣ ΟΠΟΤΕ ΝΑ ΕΤΟΙΜΑΖΕΣΤΕ. Στα της ταινίας, ο πιο βαριεστημένος μπάτσος της Ευρώπης, φορώντας ένα ΚΑΤΑΠΛΗΚΤΙΚΟ και ας το πούμε ανοιχτά ΤΟΛΜΗΡΑ ΛΑΔΙ δερμάτινο τζάκετ αναλαμβάνει να ξεδιαλύνει την υπόθεση ενός περίεργου βατραχανθρωποδολοφόνου που τρομοκρατεί την νεροκαναλούσα πόλη του Άμστερνταμ. Την ίδια στιγμή έχει γράψει στα τέτοια του την κόρη του η οποία θα μπορούσε να είναι η ανηψιά του Ινσπέχτορα Γκάτζετ, ενώ κάπως άβολα φαίνεται να ενδιαφέρεται περισσότερο για το γκομενιλίκι παρά για την δουλειά του. ΚΛΑΣΣΙΚΟ ΝΤΕΝΤΕΚΤΙΒ ΔΗΛΑΔΗΣ. Παρά τις αβάσιμες κατηγορίες περί ταινίας μαραθωνίου που διαρκεί 6 ωρες, το δημιούργημα του Ντικ Μαας είναι στην πραγματικότητα ένα σφιχτό κάτι-παραπάνω-απο-μιάμισο-ώρα που χτίζει, χτίζει, χτίζει ένα ενδιαφέρον ΧΟΥΝΤΑΝΙΤ μέχρι που κοιτάει την ώρα, παίρνει γραμμή ότι χει αργήσει για ενα ραντεβού και απλά λέει "τελικά ήταν ένας άλλος, άσχημος πολύ, δεν τόνε ξέρετε, ήταν άσχημος δεν ξέρω αν σας το είπα, επειδής ραδιενέργεια και απόβλητα ξέρω γω, ναι λοιπόν αυτός που λέτε, άντε πάω για μπύρες τώρα, μην αφήσετε νερά τώρα σκούπισα". Που μια χαρά τέλος για ταινία είναι δηλαδή, κοτζάμ μιούταντ δολοφόνο σας σέρβιρε, τι ΄άλλο θέλατε πια, αντί να πείτε ότι το σάουντρακ το εκλεψεν η Τίνα Τέρνερ για το Σίμπλι Δε Μπεστ κάθεστε και ασχολείστε με μαλακίες. Άντε

Ο Στέλιος Καρακάης συνεχίζει τις ξέφρενες και πχιοτικές επιλογές του με το Amsterdamned, μια ταινιά που ανήκει ξεκάθαρα στο εκλεκτό Stelios Tour of Europe, πράγμα που σημαίνει ότι ΕXEI KI AΛΛΕΣ ΟΠΟΤΕ ΝΑ ΕΤΟΙΜΑΖΕΣΤΕ. Στα της ταινίας, ο πιο βαριεστημένος μπάτσος της Ευρώπης, φορώντας ένα ΚΑΤΑΠΛΗΚΤΙΚΟ και ας το πούμε ανοιχτά ΤΟΛΜΗΡΑ ΛΑΔΙ δερμάτινο τζάκετ αναλαμβάνει να ξεδιαλύνει την υπόθεση ενός περίεργου βατραχανθρωποδολοφόνου που τρομοκρατεί την νεροκαναλούσα πόλη του Άμστερνταμ. Την ίδια στιγμή έχει γράψει στα τέτοια του την κόρη του η οποία θα μπορούσε να είναι η ανηψιά του Ινσπέχτορα Γκάτζετ, ενώ κάπως άβολα φαίνεται να ενδιαφέρεται περισσότερο για το γκομενιλίκι παρά για την δουλειά του. ΚΛΑΣΣΙΚΟ ΝΤΕΝΤΕΚΤΙΒ ΔΗΛΑΔΗΣ. Παρά τις αβάσιμες κατηγορίες περί ταινίας μαραθωνίου που διαρκεί 6 ωρες, το δημιούργημα του Ντικ Μαας είναι στην πραγματικότητα ένα σφιχτό κάτι-παραπάνω-απο-μιάμισο-ώρα που χτίζει, χτίζει, χτίζει ένα ενδιαφέρον ΧΟΥΝΤΑΝΙΤ μέχρι που κοιτάει την ώρα, παίρνει γραμμή ότι χει αργήσει για ενα ραντεβού και απλά λέει "τελικά ήταν ένας άλλος, άσχημος πολύ, δεν τόνε ξέρετε, ήταν άσχημος δεν ξέρω αν σας το είπα, επειδής ραδιενέργεια και απόβλητα ξέρω γω, ναι λοιπόν αυτός που λέτε, άντε πάω για μπύρες τώρα, μην αφήσετε νερά τώρα σκούπισα". Που μια χαρά τέλος για ταινία είναι δηλαδή, κοτζάμ μιούταντ δολοφόνο σας σέρβιρε, τι ΄άλλο θέλατε πια, αντί να πείτε ότι το σάουντρακ το εκλεψεν η Τίνα Τέρνερ για το Σίμπλι Δε Μπεστ κάθεστε και ασχολείστε με μαλακίες. Άντε Δες την ταινία στο Youtube: https://www.youtube.com/watch?v=TurfPZ3Z6Oo&list=PLwNsrUf_vuvyHH98bBzpKWVJDYCYyv9KJ&index=15 Κάνε κάνα λαηκ: https://www.facebook.com/thefilmpit/ Κάνε κάνα σασκραή: https://www.youtube.com/c/TheFilmPitPodcast Φόρα τη φρέσκια κοντομάνα του FilmPit: https://thefilmpit.com/shop/product/filmpit-tshirt/

Is Amsterdamned eigenlijk een goede film? Zou Gerto een échte filmquiz kunnen winnen? Wie is jouw favoriete Star Trek Kapitein? Mummy Impossible. Flodder haat. Marvel. The Falcon and the Winter Soldier. The Suicide Squad. Onze favoriete 1 april grappen en nog heel veel meer!

FEATURING ELBEE AND ANDREW FROM GRUMPIRE THE POLL AMSTERDAMNED (1988) 47.6%   ALABAMA’S GHOST (1973) 9.5%   AMERICA 3000 (1986) 14.3%   AUTOPSY (1975) 28.6%   BONUS FEATURE AMER (2009)

Reviews of Amsterdamned and Stranger Behavior.

STEROIDS – LE PODCAST profite de son visa tourisme pour vous faire visiter la belle ville d’Amsterdam : ses canaux de l’Amstel, son musée Rembrandt, ses meurtres crapoteux de prostituées… Vous l’aurez compris, cette semaine, on vous fait visiter… AMSTERDAMNED de Dick Maas !La Hollande, l’autre pays de la série B qui déménage ? C’est le cas, si on se concentre sur la filmographie de Dick Maas. Réalisateur de L’ASCENSEUR et ISSUE DE SECOURS, Dick Maas signe avec AMSTERDAMNED son film le plus réjouissant, s’inspirant autant des films noirs de son enfance que des slashers horrifiques très à la mode dans les années 80. Mais l’intérêt du film dépasse largement ses influences américaines, étant donné que Dick Maas cherche spécifiquement à mettre en valeur la ville d’Amsterdam, qui sert ici de toile de fond à une enquête en forme de course-poursuite pour attraper un tueur en série qui sévit sur les canaux de la ville. Poursuites en bateaux, meurtres sadiques, flic aux méthodes expéditives…Pour Julien Dupuy et Stéphane Moïssakis, AMSTERDAMNED reste cette bonne petite série B d’artisan conçue avec un amour tel pour le genre qu’elle se revoit encore avec un certain plaisir aujourd’hui, plus de trente-deux ans après sa sortie initiale !Pour nous soutenir, une seule adresse : https://fr.tipeee.com/capture-mag/ See acast.com/privacy for privacy and opt-out information.

Halloween may be over, but that doesn't mean we still can't party! We shake the post-Halloween blues this week with three very different flicks!Up first, after getting busted for vandalizing the Hollywood sign, a young punk is forced to go work for his uncle's plumbing company, but he gets more than he bargained for when he realizes some of his uncle's clients are in the sexy jacuzzi business in Hollywood Hot Tubs from 1984.Then, a couple groups of teens travel into the wilderness to party but soon start becoming the victims of a Native American shaman with an axe to grind in Body Count from 1986.And finally, a Dutch cop is on the trail of a serial killer who is picking off victims from inside the city's unique system of canals in 1988's Amsterdamned.All this plus US Election predictions, how we spent our Halloweens, Junk Mail from our grandpa, the origin of Sean's name, the deepest of deep fakes, blu-rays of old cartoons and so much more.LISTEN NOW:MP3 Direct DonloydAlso, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We will win the 2020 Presidental Election with your love and support.

Dick Maas is regisseur. Na een paar korte films maakt hij in 1983 zijn eerste speelfilm, De lift, waarvoor hij meteen zijn eerste Gouden Kalf ontving. Daarna volgden filmklassiekers als Flodder(1986), Amsterdamned(1988), Flodder in Amerika!(1992), Moordwijven(2007) en Prooi(2016). Met ongelimiteerde budgetten en grensverleggende effecten heeft Maas de Nederlandse film naar een ander niveau getild. Op het Nederlands Film Festival gaat de documentaire De Dick Maas methode in première. Daarin wordt op deze bijzondere periode uit de Nederlandse filmgeschiedenis teruggeblikt. Pieter van der Wielen spreekt met Dick Maas.

Julius en Jasper bespreken twee films van Dick Maas: De Lift (1983) of Amsterdamned (1988).

Gear up as Jay and Shane venture down the canals of Amsterdam, as they deal with some 80's hair, and boat chase that would make Vin Diesel proud. Then they take a turn into a mind of a madman as they witness the German film known as Angst. WARNING: Episode contains graphic content related to the real life events Angst is based off, listener discretion advised.

This week on Shock Waves, your hosts Ryan Turek, Rebekah McKendry, Elric Kane, and Rob Galluzzo are joined by special guest Malloy O'Meara, author of THE LADY FROM THE BLACK LAGOON, to talk monsters! But first, the latest horrors! The gang discusses Shudder's CURSED docu-series, WE SUMMON THE DARKNESS, GODZILLA: KING OF THE MONSTERS, SLUMBER PARTY MASSACRE 2, Ryan revisited the entire SCREAM franchise, as well as SCREAM DREAM on Night Flight, and our Night Flight pick of the week was AMSTERDAMNED! Then Mallory joins us to tell us a bit about her book on Milicent Patrick, now available in paperback, and then we each pick our 3 favorite cinematic non-Universal monsters in horror! The picks are varied! Tune in now! 

A trip to Amsterdam... that took an unexpected turn!

Tatum Dagelet is terug op tv met een nieuwe serie Van vader naar moeder. Daarin praat ze met kinderen over de gevolgen van een echtscheiding. Dagelet is zelf ervaringsdeskundige: ze is kind van gescheiden ouders en is zelf gescheiden. Tatum Dagelet brak door als actrice  in onder meer Amsterdamned. Daarna was ze onder meer als programmamaker te zien in het tv-programma Brutale Meiden. Hugo Haak is de bondscoach van de Nederlandse baanwielrenners. Bij de Spelen in Tokio, later dit jaar, hoopt hij met zijn sprintploeg meerdere medailles binnen te halen. De pas 28-jarige Haak was tot voor kort zelf baansprinter, maar hij moest stoppen vanwege fysieke problemen. Haak legde zich toe op coaching en met succes: vorig jaar werd hij verkozen tot 'coach van het jaar'.

Hey-o catacomb dwellers! We wanted to kick the new year off with something different! What a better way than celebrating with a birthday episode for Cody! He picked the movie this episode and let me tell ya, we weren't disappointed! Happy New Year ya ghoulies! *No Segments this Episode* Outro Music: Worlds Collide by Powerman 5000 (Cody's Pick)

Energizing new music from Yellow Claw, Blasterjaxx, Bassjackers, Maddix, Dimitri Vegas & Like Mike, Stoltenhoff + more. Tracklist available at www.edmweekly.com/tracklistDemos, Guest Mixes, Shoutouts, Sponsorship & BusinessEmail Garrett: garrett.gaudet@edmweekly.comFacebook: @EDMWeeklyRadio Instagram @EDMWeeklyRadioNext Episode: EDM Weekly Episode 308 | October 23rd 2019

Energizing new music from Yellow Claw, Blasterjaxx, Bassjackers, Maddix, Dimitri Vegas & Like Mike, Stoltenhoff + more. Tracklist available at www.edmweekly.com/tracklistDemos, Guest Mixes, Shoutouts, Sponsorship & BusinessEmail Garrett: garrett.gaudet@edmweekly.comFacebook: @EDMWeeklyRadio Instagram @EDMWeeklyRadioNext Episode: EDM Weekly Episode 308 | October 23rd 2019

The boys take a left turn at Nicholas Winding Refn Boulevard and get into the Pusher series while immense analysis on violence takes place along with seeing Boobs and being Amsterdamned. Find out about Garrick's new Phantom Thread and can Joaquin carry the weight.

After a stress-filled car ride, Constance, Lonnie, and Olivia interrogate the vampire Sven in the bar Amsterdamned for more information on the possession of Sandra Mazur.   CAST Sally Chan- Brandon Khan Du Charlotte Elena- Constance Willow Ray Goldberg- Olivia Margolis Noa Heinrich- Lonnie Favager Matthew Marquez- GM Megan Scharlau- Hattie Bannet   SOUNDTRACK "Lightless Dawn", "Interloper", "March of the Spoons", "Moonlight Hall", and "Dark Dance" by Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 3.0 License http://creativecommons.org/licenses/by/3.0/ Learn more about Urban Shadows at https://www.magpiegames.com/our-games/urban-shadows/ This episode is sponsored by Kwest Find out more about Tabletop Potluck at tabletoppotluck.com Follow us on Facebook and twitter Support us at patreon.com/tabletoppotluck

Andy Triefenbach, Joshua Lightfoot, Jeremy Jones and Mike Hassler remember character actor, “that guy” and Uncle Willie, Dick Miller. We also take a look at Roger Corman’s A Bucket of Blood. Join our Facebook Group Show Notes: 00:02:04 – WHAT WE’VE BEEN WATCHING Josh – Psycho: The Legacy Collection, Martin, Horror Noire Jeremy – Madhouse, Amsterdamned, Dead […]

Tijn Touber is muzikant, meditatieleraar, schrijver en inspirator. Hij was oprichter van de band Lois Lane en schreef o.a. de titelsong voor de film ?Amsterdamned?. Hij nam een drastische beslissing na zijn muzikale succes en besloot zich de rest van zijn leven te wijden aan bewustzijnsontwikkeling. Hij geeft trainingen aan de Amsterdamse politie, artsen, rechters en Lowlands bezoekers, en schreef o.a. de bestseller ?Spoedcursus Verlichting?. Op 21 Januari komt zijn nieuwe boek uit, ?Time Bender?.

Tijn Touber is muzikant, meditatieleraar, schrijver en inspirator. Hij was oprichter van de band Lois Lane en schreef o.a. de titelsong voor de film ?Amsterdamned?. Hij nam een drastische beslissing na zijn muzikale succes en besloot zich de rest van zijn leven te wijden aan bewustzijnsontwikkeling. Hij geeft trainingen aan de Amsterdamse politie, artsen, rechters en Lowlands bezoekers, en schreef o.a. de bestseller ?Spoedcursus Verlichting?. Op 21 Januari komt zijn nieuwe boek uit, ?Time Bender?.

On this episode of the Ghoul Squad podcast we reveal our Top 10 Horror Films of 2017! Erik makes a big announcement for the podcast. We also review Insidious: The Last Key. Erik talks Amsterdamned, The Lift, There’s Nothing There, The Core, Mayhem, Brawl in Cell Block 99 and The Poughkeepsie Tapes. We also have a little fun and give our Top 3 Non-Horror films of the year. Erik reveals his Top 5 Horror Punk albums of the year for his ERIK KHOFFINS TERROR TUNES. We detail all of our honorable mentions for 2017 so settle in for a very long HORROR FILLED episode of the podcast! Buy a shirt! www.bit.ly/ghoulsquadcolor Tweet us your favorite film of 2017! @GhoulSquadFM Follow us on Instagram @GhoulSquadFM Enjoy the podcast!

This week, death does a lot of stuff. Some good, some horrible. First up, death stalks the Red Light District and the canals of Amsterdam as Darryll and Desmond review Amsterdamned. Then, Devil Dinosaur Jr. tries to get a handle on what death does in a double feature of the giallos Death Walks on High Heels and Death Walks at Midnight. Before I get to the music, I also wanted to say that death also happened to pull Tom Petty away from us this week. RIP Tom Petty. Songs included: "Joy Through Death" by Grave Pleasures, "Canals in the City" by Year of the Flood, "Strutter" by KISS, "Living After Midnight" by Judas Priest, and "Supernatural Radio" by Tom Petty and The Heartbreakers. Send feedback to: dreadmediapodcast@gmail.com, or 206.278.5287. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, death does a lot of stuff. Some good, some horrible. First up, death stalks the Red Light District and the canals of Amsterdam as Darryll and Desmond review Amsterdamned. Then, Devil Dinosaur Jr. tries to get a handle on what death does in a double feature of the giallos Death Walks on High Heels and Death Walks at Midnight. Before I get to the music, I also wanted to say that death also happened to pull Tom Petty away from us this week. RIP Tom Petty. Songs included: "Joy Through Death" by Grave Pleasures, "Canals in the City" by Year of the Flood, "Strutter" by KISS, "Living After Midnight" by Judas Priest, and "Supernatural Radio" by Tom Petty and The Heartbreakers. Send feedback to: dreadmediapodcast@gmail.com, or 206.278.5287. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, death does a lot of stuff. Some good, some horrible. First up, death stalks the Red Light District and the canals of Amsterdam as Darryll and Desmond review Amsterdamned. Then, Devil Dinosaur Jr. tries to get a handle on what death does in a double feature of the giallos Death Walks on High Heels and Death Walks at Midnight. Before I get to the music, I also wanted to say that death also happened to pull Tom Petty away from us this week. RIP Tom Petty. Songs included: "Joy Through Death" by Grave Pleasures, "Canals in the City" by Year of the Flood, "Strutter" by KISS, "Living After Midnight" by Judas Priest, and "Supernatural Radio" by Tom Petty and The Heartbreakers. Send feedback to: dreadmediapodcast@gmail.com, or 206.278.5287. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

This week, death does a lot of stuff. Some good, some horrible. First up, death stalks the Red Light District and the canals of Amsterdam as Darryll and Desmond review Amsterdamned. Then, Devil Dinosaur Jr. tries to get a handle on what death does in a double feature of the giallos Death Walks on High Heels and Death Walks at Midnight. Before I get to the music, I also wanted to say that death also happened to pull Tom Petty away from us this week. RIP Tom Petty. Songs included: "Joy Through Death" by Grave Pleasures, "Canals in the City" by Year of the Flood, "Strutter" by KISS, "Living After Midnight" by Judas Priest, and "Supernatural Radio" by Tom Petty and The Heartbreakers. Send feedback to: dreadmediapodcast@gmail.com, or 206.278.5287. Follow @DevilDinosaurJr and @dreadmedia on Twitter! Join the Facebook group! Visit www.stayscary.wordpress.com and www.dreadmedia.bandcamp.com.

Join your hosts Rob Galluzzo, Rebekah McKendry and Elric Kane as they welcome to the show very special guests Joseph Ziemba (Creator of Bleeding Skull, American Genre Film Archive) and Bret Berg (American Genre Film Archive) share with us their favorite, obscure genre deep cuts! But first, the latest horrors! Rob reports back on THE DARK TOWER, and Blue Underground's upcoming disc of AMSTERDAMNED. Elric saw the new ANNABELLE: CREATION, as well as Arrow Video's BRAIN DAMAGE release, and TRICK OF TREATS. Bekah checked out BILLY JACK and the Italian cult classic 1990: THE BRONX WARRIORS. Then we welcome Joseph Ziemba and Bret Berg on who tell us about the recent restorations, theatrical engagements and Blu-Ray releases for THE ZODIAC KILLER and EFFECTS. Then they hit us with the weirdest, most bizarre recommendations they could dig up! Crazy Mexican Cinema! PSYCHED BY THE 4D WITCH! The films of Long Islander Nathan Schiff! Jame Bryan, Renee Harmon and JUNGLE TRAP, and much, much more! Kick back, relax and join the conversation!  This episode is dedicated to the memory of Dustin Pace.

Nieuwe Aflevering, nieuwe VASTE co-host, METAL 00.00.00 - 00.02.02: Intro 00.02.02 - 00.04.25: Introductie Dennie 00.04.25 - 00.26.55: Wat hebben we gezien? Kong, Bates Motel, Autopsy Of Jane Doe, Stranger Things, Santa Clarita Diet, I Saw The Devil, Amsterdamned, Prooi, Dig Two Graves 00.26.55 - 00.47.30: Trick Or Treat (1986) ( Zonder Spoilers) 00.47.30 - 01.15.36: Trick Or Treat (1986) (SPOILERS!!!) 01.15.36 - 01.33.28: The Devil's Candy (2017) (Zonder spoilers) 01.33.28 - Einde: The Devil's Candy (2017) (SPOILERS!!!)

This week on Shock Waves, join your hosts Rob Galluzzo, Ryan Turek, Rebekah McKendry and Elric Kane as they catch up on all the latest horrors! First up, we talk about the rise of the "Shockers," the new Facebook group "Shock Waves Horror Movie Club" created by our listeners and fully endorsed by the Shock Waves crew! In an attempt to catch up on the year end horror releases, Rob watched DEMON, I AM NOT A SERIAL KILLER and THE EYES OF MY MOTHER. Bekah watched THE BLAIR WITCH and the Netflix Series 3%. Ryan reports back on SPECTRAL and MERCY. Elric got his Christmas Horror fix with SILENT NIGHT BLOODY NIGHT, and also watched MICROWAVE MASSACRE, the Chuck Norris slasher SILENT RAGE and AMSTERDAMNED! Rob also checked out the recent Vestron Blu-Ray releases for RETURN OF THE LIVING DEAD 3 and CHUD II: BUD THE CHUD! Kick back, relax and join the conversation!

Holanda; tierra de tulipanes, mantequilla, hachís legal... y ascensores asesinos. Víctor reconoce que, a parte de Paul Verhoeven, el único director holandés que conoce es Dick Maas. A parte de todo aquello de Los Flodder y Amsterdamned, Maas tiene en su haber esta estrambótica película que es la sublimación del miedo a los ascensores.Una extraña síntesis de película de misterio/terror y costumbrismo cutre analizada en el podcast de rigor.

A couple unlikely challengers step into the Cult of Muscle this week.  Alain Delon shows up on the doorstep and he brought his Eurocrime buddies with him in Big Guns aka Tony Arzenta.  Then from the depths of the Amsterdam canals come one of the most unlikely genre mashups we've covered on the show and that film is Amsterdamned! Send in your feedback to cultofmuscle@gmail.com and check out cultofmuscle.tumblr.com Whatcha' Been Lifting- 0:00:00-1:08:20 Amsterdamned- 1:11:00-1:48:20 Big Guns- 1:49:35-2:25:30 Feedback- 2:25:30-3:09:40

This week on the show we are joined by West Coast Correspondent Rupert Pupkin for some lovely film chatter, as we are covering The Sender (1982) directed by Roger Christian and Amsterdamned (1988) directed by Dick Maas. We also have a good amount of feedback and craziness... Emails to midnitecinema@gmail.com Voicemails to 206-666-5207 Adios!!! --- Send in a voice message: https://anchor.fm/ggtmc/message

With news sorely lacking, the Three Who Rule were momentarily relieved to hide in the welcome shelter of a commentary, in this case the third and fourth instalments of "Arc of Infinity", a maudlin yarn notable more for IKEA furniture infesting Gallifrey than for an interesting story. But their welcome was short lived, as Cracklor once again besieged Warren and his computer more or less opted for suicide....much like Omega, as his Rice Krispie wounds boiled into nothingness. Poignancy ahead, dear listeners. Sheer poignancy.