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2 episodes with art lafleur
3 episodes with art lafleur
3 episodes with art lafleur
2 episodes with art lafleur
2 episodes with art lafleur
2 episodes with art lafleur
Welcome to Cyberpunk Cinema – the Definitive Dive into the Dark Future of Science Fiction. I am your host, Anthony La Pira, and I will be taking you on a cinematic journey through the sprawling cityscapes, the crippling datastorms, and the cybernetic implants that encompass all things Cyberpunk.In this week's episode, I will be breaking-down the 1984 cyberpunk time-traveling B-Movie delight Trancers – directed by Charles Band; written by Danny Bilson & Paul De Meo; starring Tim Thomerson, Helen Hunt, Art LaFleur, Michael Stefani, Biff Manard, and Richard Herd.A gruff bounty hunter travels back in time to 1980s Los Angeles to stop a twisted criminal who can transform people into zombie-like creatures.Trancers is an excellent B-Movie Cyberpunk from the King of B-Movies himself, Charles Band. It launched a franchise that had six installments and created the character of Jack Deth led by Tim Thomerson's awesome performance. It's a blend of time travel and neo noir and it's so much freakin' fun. So, in the words of Jack Deth – “Dry hair's for squids. Now come on. Let's get outta here.” So, do me a favor – it's time to access your cranial jacks, boot up your Ono-Sendai Cyberspace 7, and slap on your damn mirror-shades. You know what time it is! Cyberpunk Cinema starts…now!Anthony's IG - https://www.instagram.com/stormgiantproductionsCyberpunk Cinema IG - https://www.instagram.com/cyberpunk.cinemaSignal Fragment SoundCloud - https://soundcloud.com/signalfragmentSend us a text
This weekend, Aaron pays tribute to the late James Earl Jones and shares Jay Crawford's (formerly ESPN) story about a father, son and baseball. James Earl Jones https://en.wikipedia.org/wiki/James_Earl_Jones Jay Crawford https://en.wikipedia.org/wiki/Jay_Crawford Here more about Art LaFleur on 7MS https://www.7minutestoriespod.com/all-episodes/s2e15 Field of Dreams Based on Shoeless Joe by W.P. Kinsella Production: Gordon Company Distributed by: Universal Pictures (United States) & Carolco Pictures (International)
In honor of the passing of the late and great James Earl Jones, I have dug out of the old archives the Sandlot and cleaned it up. As our own baseball season is winding down, nice to reminisce about the boys of summer and one of the greatest voices to grace the silver screen. As an aside, my own voice on this track sounds unrecognizable, yeesh. How will the Sandlot on this 10 year old episode hold up? Host: Nic Panel: Scott, Billy, Daniel Directed by David Mickey Evans Starring: Tom Guiry, Mike Vitar, Art LaFleur, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Quintin Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis, Karen Allen, and the late great James Earl Jones
In honor of the passing of the late and great James Earl Jones, I have dug out of the old archives the Sandlot and cleaned it up. As our own baseball season is winding down, nice to reminisce about the boys of summer and one of the greatest voices to grace the silver screen. As an aside, my own voice on this track sounds unrecognizable, yeesh. How will the Sandlot on this 10 year old episode hold up? Host: Nic Panel: Scott, Billy, Daniel Directed by David Mickey Evans Starring: Tom Guiry, Mike Vitar, Art LaFleur, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Quintin Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis, Karen Allen, and the late great James Earl Jones
Art LaFleur releases a new single inspired by the fierceness with which Keri Alonzo approaches her battle with colon cancer.
The Blob is a 1988 American science fiction horror film co-written and directed by Chuck Russell. A remake of the 1958 film of the same name, it stars Shawnee Smith, Kevin Dillon, Donovan Leitch, Jeffrey DeMunn, Paul McCrane, Art LaFleur, Robert Axelrod, Joe Seneca, Del Close and Candy Clark. The plot follows an acidic, amoeba-like organism that crashes down to Earth in a military satellite, which devours and dissolves anything in its path as it grows. It is the third film in The Blob film series. FRUMESS is POWERED by www.riotstickers.com/frumess GET 1000 STICKERS FOR $79 RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess
Ok, so no Jillian this week. We don't talk Lucy. Kids got sick, plans got changed, No Cobretti to be the Cure! So this week we have guest host supreme, the poster maker, QB NORA KRAMER back on the mic. Together, Will & Nora, dive into Ahsoka, Give Ian malarkey about the Rocky Franchise, and slather their fries in ketchup to talk COBRA (1986) Directed by: George P. Cosmatos. Starring Sylvester Stallone, Brigitte Nielson, Reni Santoni, Andrew Robinson, Brian Thompson, John Herzfeld, Lee Garlington, Art LaFleur and Many Other Talented People 00:00:20- Welcome back Nora! 00:01:30- First Thoughts 00:04:40- Ian Thoughts 00:09:00- Whatcha Been Watchin'? AHSOKA 00:10:40- Time Stamp Call Out! Wuzzup! 00:26:00- COBRA (1986) 00:59:30- Totals 01:02:30- Next Week/ IAN WILL BE BACK!/ Thank you NORA!! Patreon: patreon.com/THELastActionCritics Instagram: @TheLastActionCritics Twitter: @THE_Lastcritics email: Thelastactioncritics@gmail.com Next Week: The Expen4bles
EPISODE 33, Act 3Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
EPISODE 33, ACT 3Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
EPISODE 33, Act 2Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
EPISODE 33, ACT 2Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
EPISODE 33, Act 1Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
EPISODE 33, ACT 1Join Alex, Bogard, & Nelson for this Silver Screen Breakdown of this 2000, football classic THE REPLACEMENTS! Be sure to watch past episodes and make sure you follow on all podcast platforms!Keanu Reeves as Shane Falco #16 (QB)Gene Hackman as Jimmy McGinty — head coachBrooke Langton as Annabelle Farrell — Head cheerleaderOrlando Jones as Clifford Franklin #81 (WR)Faizon Love as Jamal Abdul Jackson #72 (G)Michael Taliferro as André "Action" Jackson #73 (G)Rhys Ifans as Nigel Gruff #3 (K)Jon Favreau as Daniel "Danny" Bateman #56 (MLB)Ace Yonamine as "Jumbo" Fumiko #68 (OT)Troy Winbush as Walter Cochran #34 (RB)David Denman as Brian Murphy #86 (TE)Michael Jace as Earl Wilkinson aka "Ray Smith" #42 (CB)Gailard Sartain & Art LaFleur as Pilachowski and Banes, respectively — McGinty's coaching staff. Brett Cullen as Eddie Martel #7Archie L. Harris, Jr. as Wilson Carr (DL)Evan Dexter Parke as Malcolm LaMont (RB)John Madden and Pat Summerall portray themselvesJack Warden as Edward O'Neil — Owner of the Washington SentinelsSarah Ann Morris as Heather and Caroline Keenan as DawnBecome a Sponsor of the Silver Screen Breakdowns Podcast!
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this week's episode, we remember William Friedkin, who passed away this past Tuesday, looking back at one of his lesser known directing efforts, Rampage. ----more---- 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. Originally, this week was supposed to be the fourth episode of our continuing miniseries on the 1980s movies released by Miramax Films. I was fully committed to making it so, but then the world learned that Academy Award-winning filmmaker William Friedkin passed away on Tuesday. I had already done an episode on his best movie from the decade, 1985’s To Live and Die in L.A., so I decided I would cover another film Friedkin made in the 80s that isn’t as talked about or as well known as The French Connection or The Exorcist or To Live and Die in L.A. Rampage. Now, some of you who do know the film might try and point that the film was released in 1992, by Miramax Films of all companies, and you’d be correct. However, I did say I was going to cover another film of his MADE in the 80s, which is also true when it comes to Rampage. So let’s get to the story, shall we? Born in Chicago in 1935, William Friedkin was inspired to become a filmmaker after seeing Citizen Kane as a young man, and by 1962, he was already directing television movies. He’d make his feature directing debut with Good Times in 1967, a fluffy Sonny and Cher comedy which finds Sonny Bono having only ten days to rewrite the screenplay for their first movie, because the script to the movie they agreed to was an absolute stinker. Which, ironically, is a fairly good assessment of the final film. The film, which was essentially a bigger budget version of their weekly variety television series shot mostly on location at an African-themed amusement park in Northern California and the couple’s home in Encino, was not well received by either critics or audiences. But by the time Good Times came out, Friedkin was already working on his next movie, The Night They Raided Minsky’s. A comedy co-written by future television legend Norman Lear, Minsky’s featured Swedish actress Britt Ekland, better known at the time as the wife of Peter Sellers, as a naive young Amish woman who leaves the farm in Pennsylvania looking to become an actress in religious stage plays in New York City. Instead, she becomes a dancer in a burlesque show and essentially ends up inventing the strip tease. The all-star cast included Dr. No himself, Joseph Wiseman, Elliott Gould, Jack Burns, Bert Lahr, and Jason Robards, Jr., who was a late replacement for Alan Alda, who himself was a replacement for Tony Curtis. Friedkin was dreaming big for this movie, and was able to convince New York City mayor John V. Lindsay to delay the demolition of an entire period authentic block of 26th Street between First and Second Avenue for two months for the production to use as a major shooting location. There would be one non-production related tragedy during the filming of the movie. The seventy-two year old Lahr, best known as The Cowardly Lion in The Wizard of Oz, would pass away in early December 1967, two weeks before production was completed, and with several scenes still left to shoot with him. Lear, who was also a producer on the film, would tell a reporter for the New York Times that they would still be able to shoot the rest of the film so that performance would remain virtually intact, and with the help of some pre-production test footage and a body double, along with a sound-alike to dub the lines they couldn’t get on set, Lahr’s performance would be one of the highlights of the final film. Friedkin and editor Ralph Rosenblum would spend three months working on their first cut, as Friedkin was due to England in late March to begin production on his next film, The Birthday Party. Shortly after Friedkin was on the plane to fly overseas, Rosenblum would represent the film for a screening with the executives at United Artists, who would be distributing the film. The screening was a disaster, and Rosenblum would be given carte blanche by the studio heads to save the film by any means necessary, since Friedkin was not available to supervise. Rosenblum would completely restructure the film, including creating a prologue for the story that would be retimed and printed on black and white film stock. The next screening would go over much better with the suits, and a mid-December 1968 release date was set up. The Birthday Party was an adaptation of a Harold Pinter play, and featured Robert Shaw and Patrick Magee. Friedkin had seen the play in San Francisco in 1962, and was able to get the film produced in part because he would only need six actors and a handful of locations to shoot, keeping the budget low. Although the mystery/thriller was a uniquely British story, Harold Pinter liked how Friedkin wanted to tell the story, and although Pinter had written a number of plays that had been adapted into movies and had adapted a number of books into screenplay, this would be the first time Pinter would adapt one of his own stories to the silver screen. To keep the budget lower still, Friedkin, Pinter and lead actor Robert Shaw agreed to take the minimum possible payments for their positions in exchange for part ownership in the film. The release of Minsky’s was so delayed because of the prolonged editing process that The Birthday Party would actually in theatres nine days before Minsky’s, which would put Friedkin in the rare position of having two movies released in such a short time frame. And while Minsky’s performed better at the box office than Birthday Party, the latter film would set the director up financially with enough in the bank where he could concentrate working on projects he felt passionate about. That first film after The Birthday Party would make William Friedkin a name director. His second one would make him an Oscar winner. The third, a legend. And the fourth would break him. The first film, The Boys in the Band, was an adaptation of a controversial off-Broadway play about a straight man who accidentally shows up to a party for gay men. Matt Crowley, the author of the play, would adapt it to the screen, produce the film himself with author Dominick Dunne, and select Friedkin, who Crowley felt best understood the material, to direct. Crowley would only make one demand on his director, that all of the actors from the original off-Broadway production be cast in the movie in the same roles. Friedkin had no problem with that. When the film was released in March 1970, Friedkin would get almost universally excellent notices from film critics, except for Pauline Kael in the New York Times, who had already built up a dislike of the director after just three films. But March 1970 was a different time, and a film not only about gay men but a relatively positive movie about gay men who had the same confusions and conflicts as straight men, was probably never going to be well-received by a nation that still couldn’t talk openly about non-hetero relationships. But the film would still do about $7m worth of ticket sales, not enough to become profitable for its distributor, but enough for the director to be in the conversation for bigger movies. His next film was an adaptation of a 1969 book about two narcotics detectives in the New York City Police Department who went after a wealthy French businessman who was helping bring heroin into the States. William Friedkin and his cinematographer Owen Roizman would shoot The French Connection as if it were a documentary, giving the film a gritty realism rarely seen in movies even in the New Hollywood era. The film would be named the Best Picture of 1971 by the Academy, and Friedkin and lead actor Gene Hackman would also win Oscars in their respective categories. And the impact of The French Connection on cinema as a whole can never be understated. Akira Kurosawa would cite the film as one of his favorites, as would David Fincher and Brad Pitt, who bonded over the making of Seven because of Fincher’s conscious choice to use the film as a template for the making of his own film. Steven Spielberg said during the promotion of his 2005 film Munich that he studied The French Connection to prepare for his film. And, of course, after The French Connection came The Exorcist, which would, at the time of its release in December 1973, become Warner Brothers’ highest grossing film ever, legitimize the horror genre to audiences worldwide, and score Friedkin his second straight Oscar nomination for Best Director, although this time he and the film would lose to George Roy Hill and The Sting. In 1977, Sorcerer, Friedkin’s American remake of the 1953 French movie The Wages of Fear, was expected to be the big hit film of the summer. The film originally started as a little $2.5m budgeted film Friedkin would make while waiting for script revisions on his next major movie, called The Devil’s Triangle, were being completed. By the time he finished filming Sorcerer, which reteamed Friedkin with his French Connection star Roy Scheider, now hot thanks to his starring role in Jaws, this little film became one of the most expensive movies of the decade, with a final budget over $22m. And it would have the unfortunate timing of being released one week after a movie released by Twentieth Century-Fox, Star Wars, sucked all the air out of the theatrical exhibition season. It would take decades for audiences to discover Sorcerer, and for Friedkin, who had gone some kind of mad during the making of the film, to accept it to be the taut and exciting thriller it was. William Friedkin was a broken man, and his next film, The Brinks Job, showed it. A comedy about the infamous 1950 Brinks heist in Boston, the film was originally supposed to be directed by John Frankenheimer, with Friedkin coming in to replace the iconic filmmaker only a few months before production was set to begin. Despite a cast that included Peter Boyle, Peter Falk, Allen Garfield, Warren Oates, Gena Rowlands and Paul Sorvino, the film just didn’t work as well as it should have. Friedkin’s first movie of the 1980s, Cruising, might have been better received in a later era, but an Al Pacino cop drama about his trying to find a killer of homosexual men in the New York City gay fetish underground dance club scene was, like The Boys in the Band a decade earlier, too early to cinemas. Like Sorcerer, audiences would finally find Cruising in a more forgiving era. In 1983, Friedkin made what is easily his worst movie, Deal of the Century, an alleged comedy featuring Chevy Chase, Gregory Hines and Sigourney Weaver that attempted to satirize the military industrial complex in the age of Ronald Reagan, but somehow completely missed its very large and hard to miss target. 1985 would see a comeback for William Friedkin, with the release of To Live and Die in LA, in which two Secret Service agents played by William L. Petersen and John Pankow try to uncover a counterfeit money operation led by Willem Dafoe. Friedkin was drawn to the source material, a book by former Secret Service agent Gerald Petievich, because the agency was almost never portrayed on film, and even less as the good guys. Friedkin would adapt the book into a screenplay with Petievich, who would also serve as a technical consultant to ensure authenticity in how Petersen and Pankow acted. It would be only the second time Friedkin was credited as a screenwriter, but it would be a nine-minute chase sequence through the aqueducts of Los Angeles and a little used freeway in Wilmington that would be the most exciting chase sequence committed to film since the original Gone in 60 Seconds, The French Connection, or the San Francisco chase sequence in the 1967 Steve McQueen movie Bullitt. The sequence is impressive on Blu-ray, but on a big screen in a movie theatre in 1985, it was absolutely thrilling. Which, at long last, brings us to Rampage. Less than two months after To Live and Die in LA opened to critical raves and moderate box office in November 1985, Friedkin made a deal with Italian mega-producer Dino DeLaurentiis to direct Rampage, a crime drama based on a novel by William P. Wood. DeLaurentiis had hired Friedkin for The Brinks Job several years earlier, and the two liked working for each other. DeLaurentiis had just started his own distribution company, the DeLaurentiis Entertainment Group, which we’ll shorten to DEG for the remainder of this episode, and needed some big movies to fill his pipeline. We did an episode on DEG back in 2020, and if you haven’t listened to it yet, you should after you finish this episode. At this time, DEG was still months away from releasing its first group of films, which would include Maximum Overdrive, the first film directed by horror author Stephen King, and Blue Velvet, the latest from David Lynch, both of which would shoot at the same time at DEG’s newly built studio facilities in Wilmington, North Carolina. But Friedkin was writing the screenplay adaptation himself, and would need several months to get the script into production shape, so the film would not be able to begin production until late 1986. The novel Rampage was based on the real life story of serial killer Richard Chase, dubbed The Vampire Killer by the press when he went on a four day killing spree in January 1978. Chase murdered six people, including a pregnant woman and a 22 month old child, and drank their blood as part of some kind of ritual. Wood would change some aspects of Chase’s story for his book, naming his killer Charles Reece, changing some of the ages and sexes of the murder victims, and how the murderer died. But most of the book was about Reece’s trial, with a specific focus on Reece’s prosecutor, Anthony Fraser, who had once been against capital punishment, but would be seeking the death penalty in this case after meeting one of the victims’ grieving family members. William L. Petersen, Friedkin’s lead star in To Live and Die in LA, was initially announced to star as Fraser, but as the production got closer to its start date, Petersen had to drop out of the project, due to a conflict with another project that would be shooting at the same time. Michael Biehn, the star of James Cameron’s The Terminator and the then recently released Aliens, would sign on as the prosecutor. Alex McArthur, best known at the time as Madonna’s baby daddy in her Papa Don’t Preach music video, would score his first major starring role as the serial killer Reece. The cast would also include a number of recognizable character actors, recognizable if not by name but by face once they appeared on screen, including Nicholas Campbell, Deborah Van Valkenberg, Art LaFleur, Billy Greenbush and Grace Zabriskie. Friedkin would shoot the $7.5m completely on location in Stockton, CA from late October 1986 to just before Christmas, and Friedkin would begin post-production on the film after the first of the new year. In early May 1987, DEG announced a number of upcoming releases for their films, including a September 11th release for Rampage. But by August 1987, many of their first fifteen releases over their first twelve months being outright bombs, quietly pulled Rampage off their release calendar. When asked by one press reporter about the delay, a representative from DEG would claim the film would need to be delayed because Italian composer Ennio Morricone had not delivered his score yet, which infuriated Friedkin, as he had turned in his final cut of the film, complete with Morricone’s score, more than a month earlier. The DEG rep was forced to issue a mea culpa, acknowledging the previous answer had been quote unquote incorrect, and stated they were looking at release dates between November 1987 and February 1988. The first public screening of Rampage outside of an unofficial premiere in Stockton in August 1987 happened on September 11th, 1987, at the Boston Film Festival, but just a couple days after that screening, DEG would be forced into bankruptcy by one of his creditors in, of all places, Boston, and the film would be stuck in limbo for several years. During DEG’s bankruptcy, some European companies would be allowed to buy individual country rights for the film, to help pay back some of the creditors, but the American rights to the film would not be sold until Miramax Films purchased the film, and the 300 already created 35mm prints of the film in March 1992, with a planned national release of the film the following month. But that release had to be scrapped, along with the original 300 prints of the film, when Friedkin, who kept revising the film over the ensuing five years, turned in to the Weinsteins a new edit of the film, ten minutes shorter than the version shown in Stockton and Boston in 1987. He had completely eliminated a subplot involving the failing marriage of the prosecutor, since it had nothing to do with the core idea of the story, and reversed the ending, which originally had Reece committing suicide in his cell not unlike Richard Chase. Now, the ending had Reece, several years into the future, alive and about to be considered for parole. Rampage would finally be released into 172 theatres on October 30th, 1992, including 57 theatres in Los Angeles, and four in New York City. Most reviews for the film were mixed, finding the film unnecessarily gruesome at times, but also praising how Friedkin took the time for audiences to learn more about the victims from the friends and family left behind. But the lack of pre-release advertising on television or through trailers in theatres would cause the film to perform quite poorly in its opening weekend, grossing just $322,500 in its first three days. After a second and third weekend where both the grosses and the number of theatres playing the film would fall more than 50%, Miramax would stop tracking the film, with a final reported gross of just less than $800k. Between the release of his thriller The Guardian in 1990 and the release of Rampage in 1992, William Friedkin would marry fellow Chicago native Sherry Lansing, who at the time had been a successful producer at Paramount Pictures, having made such films as The Accused, which won Jodie Foster her first Academy Award, and Fatal Attraction. Shortly after they married, Lansing would be named the Chairman of Paramount Pictures, where she would green light such films as Forrest Gump, Braveheart and Titanic. She would also hire her husband to make four films for the studio between 1994 and 2003, including the basketball drama Blue Chips and the thriller Jade. Friedkin’s directing career would slow down after 2003’s The Hunted, making only two films over the next two decades. 2006’s Bug was a psychological thriller with Michael Shannon and Ashley Judd, and 2012’s Killer Joe, a mixture of black comedy and psychological thriller featuring Matthew McConaughey and Emile Hirsch, was one of few movies to be theatrically released with an NC-17 rating. Neither were financially successful, but were highly regarded by critics. But there was still one more movie in him. In January 2023, Friedkin would direct his own adaptation of the Herman Wouk’s novel The Caine Mutiny Court-Martial for the Paramount+ streaming service. Updating the setting from the book’s World War II timeline to the more modern Persian Gulf conflict, this new film starred Keifer Sutherland as Lieutenant Commander Queeg, alongside Jason Clark, Jake Lacy, Jay Duplass, Dale Dye, and in his final role before his death in March, Lance Reddick. That film will premiere at the Venice Film Festival in Italy next month, although Paramount+ has not announced a premiere date on their service. William Friedkin had been married four times in his life, including a two year marriage to legendary French actress Jean Moreau in the late 70s and a two year marriage to British actress Lesley-Anne Downe in the early 80s. But Friedkin and Lansing would remain married for thirty-two years until his death from heart failure and pneumonia this past Tuesday. I remember when Rampage was supposed to come out in 1987. My theatre in Santa Cruz was sent a poster for it about a month before it was supposed to be released. A pixelated image of Reece ran down one side of the poster, while the movie’s tagline and credits down the other. I thought the poster looked amazing, and after the release was cancelled, I took the poster home and hung it on one of the walls in my place at the time. The 1992 poster from Miramax was far blander, basically either a entirely white or an entirely red background, with a teared center revealing the eyes of Reece, which really doesn’t tell you anything about the movie. Like with many of his box office failures, Friedkin would initially be flippant about the film, although in the years preceding his death, he would acknowledge the film was decent enough despite all of its post-production problems. I’d love to be able to suggest to you to watch Rampage as soon as you can, but as of August 2023, one can only rent or buy the film from Amazon, $5.89 for a two day rental or $14.99 to purchase. It is not available on any other streaming service as of the writing and recording of this episode. Thank you for joining us. We’ll talk again soon, when I expect to release the fourth part of the Miramax miniseries, unless something unexpected happens in the near future. Remember to visit this episode’s page on our website, The80sMoviePodcast.com, for extra materials about Rampage and the career of William Friedkin. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
A Texas native, and musical theater graduate of Palm Beach Atlantic University- Rebekah Kennedy has already spent a fair amount of time on the big and small screen.In 2011, she had her first big screen role in the movie Season of the Witch, with Nicolas Cage and Ron Perlman. In 2012, she played the lead role in the film House Hunting, with Marc Singer and the great Art LaFleur.Rebekah has also acted in numerous television series, including Law & Order: Special Victims Unit and Criminal Minds. She also known for her role as Penny in Netflix's To the Bone and can most recently be seen in the horror thriller- Two Witches.
This weeks special from the Patreon dives into Season 4 of Tales from the Crypt. Episode 6 - What's Cookin: Stars Christohper Reeve, Bess Armstrong, Art LaFleur, Meat Loaf and Judd Nelson. Plot: Married couple Fred and Erma's restaurant has seen better days. But things change once a stranger walks in, with a rather unique steak recipe... Episode 7 - The New Arrival: Stars David Warner, Joan Severance, Zelda Rubinstein, Twiggy and Robert Patrick. Plot: An abnormally difficult child tests a psychologist.
On our show, "Howling At The Full Moon", we're heading bsck 'down the line' with our 26th episode and diving further into one of the biggest franchises from the early Full Moon library with the 1991 sci-fi classic "TRANCERS 2". Directed by Charles Band himself and featuring most of the old gang including Tim Thomerson as Jack Deth, Helen Hunt, Biff Manard, Art LaFleur, Telma Hopkins, and new to the series but veterans all the same with Megan Ward, Jeffrey Combs, Richard Lynch, Barbara Crampton and Sonny Carl Davis. This movie is just packed with Full Moon alumni! Join our hosts Cameron Scott and Full Moon enthusiast Dustin Hubbard as they take a deep dive into a discussion and dissection of the continuing adventures of Jack Deth, the Trancer killing time traveling cop from the future stuck in the 1990's. "The Future Cop Is Back!!!" 'Next time someone hands you an exploding ham, I'm gonna pass the mustard!"
This week on Weird Kid Video - we are stuck behind enemy lines with only our gee-whiz attitudes and bug friend from beyond the stars to help us - we are talking about Zone Troopers from 1985. Directed By Danny Bilson. Written By Danny Bilson & Paul De Meo. Starring Tim Thomerson as Sargent Stone, Art Lafleur as Mittens, with Biff Maynard as Dolan and Timothy Van Patten as Verona. Watch the trailer here. Find the movie in your region via Just Watch Weird Kid Video is hosted by Keean Murrell-Snape, Kira Jade Oppitz and Brodie McDonald. Each sold separately. Don't follow us on Instagram and Twitter at @weirdkidvideo This podcast was recorded on Dharawal Country.
HAPPY HALLOWEEN!!! In this super spooky episode of the podcast we welcome back actor Rebekah Kennedy to discuss her latest role, Masha, in the film 'Two Witches'. It's definitely a super spooky film and worth your time this Halloween season. Enjoy! About Rebekah Kennedy Rebekah Kennedy, born in Texas, began acting on the stage. Rebekah spent all of her time doing theatre and it wasn't until after she received her B.A. in Musical Theatre from Palm Beach Atlantic University, did she truly discover the screen. When 2010 hit, it quickly showed it would be a promising year. Soon came an amazing opportunity when Rebekah booked a lead role as 15-year-old Hanna in the feature, "House Hunting" with Marc Singer and Art LaFleur and then went on to play 14-year-old Caroline Boutine in the feature, "Creature," starring Mehcad Brooks and Serinda Swan. Then came another wonderful opportunity when she booked a supporting role in the feature, "Season of the Witch" with Nicolas Cage. In 2011, Rebekah made her television debut on the TNT show, "Memphis Beat." She also had a guest star role in the long running TV show "Criminal Minds" on CBS in 2016, the lead guest star Esther Labott in The Book of Esther on "Law & Order SVU" on NBC in 2018, and as the crazy drug addict Melly Wyatt in "Station 19" on ABC. Rebekah first hit the big screen when she played the young Peasant Turk Girl in "Season of the Witch" with Nicolas Cage and Ron Perlman, which landed in theaters January 7, 2011, "Creature" which opened on September 9, 2011, and then as one of the leads in the horror film "Bastard" with After Dark Films and Fox Home Entertainment which opened October 16, 2015, and "A Dark Foe" with Graham Greene and Selma Blair. Rebekah is also heavily involved with reaching out to the homeless and has done work with the Covenant House in Los Angeles and goBE. About Two Witches With its super-saturated color palette, tenebrous art design and electrifying soundtrack, Two Witches presents two truly terrifying conjoined tales of witchery, paranoia and terror that hark back to the gory thrills of classic Euro horrors such as Suspiria, Shock and The Beyond. Expectant young mother Sarah is convinced she has been given the evil eye from a mysterious blank-eyed old hag while she is dining with her bullish and insensitive partner Simon. When the couple go to visit his new-agey friends Dustin and Melissa, dark forces are unleashed after an ill-advised attempt at consulting a Ouija board to allay her fears. Meanwhile, tensions grow between grad school student Rachel and her new roommate Masha after a violent incident involving a man that the strange and impulsive young woman has brought home. First-time feature director Pierre Tsigaridis, who also shot, edited and contributed to the film's soundtrack, singles himself out as one to watch in a deft and unnerving depiction of unspeakable evil that truly delivers. Make sure to check out the NEW Dtalkspodcast.com website! Thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload. With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale) Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team! https://blog.feedspot.com/detox_podcasts/
Welcome back to our podcast series from The Super Network and Pop4D called Tubi Tuesdays Podcast! This podcast series is focused on discovering and doing commentaries/watch a longs for films found on the free streaming service Tubi, at TubiTVYour hosts for Tubi Tuesdays are Super Marcey, ‘The Terrible Australian' Bede Jermyn and Prof. Batch (From Pop4D & Web Tales: A Spider-Man Podcast), will take turns each week picking a film to watch and most of them will be ones we haven't seen before.Greetings everyone and welcome back to The Tubi Tuesdays Podcast for Episode 72, with your hosts Super Marcey, Bede Jermyn and Prof. Batch who is back after celebrating Canada Day with Baby Kraven. This week is Batch's pick to choose a film and he decided to give his pick over to our very special guest for the episode James Simpson, who co-hosts Avenging Tales with Batch. So what film did James impart on the podcast? Well in true Tubi Tuesdays fashion, James has chosen a film that is a sequel and from Full Moon with Trancers II: The Return Of Jack Deth (1991)!Trancers II: The Return Of Jack Deth was directed by Charles Band, it stars Tim Thomerson, Helen Hunt, Megan Ward, Biff Manard, Martine Beswick, Jeffrey Combs, Alyson Croft, Art LaFleur and Richard Lynch.If you have never listened to a commentary before and want to watch the film along with the podcast, here is how it works. You simply need to grab a copy of the film or load it up on Tubi (you may need alcohol), and sync up the podcast audio with the film. We will tell you when to press and you follow along, it is that easy! Because we have watched the films on Tubi, it is a free service and there are ads, however we will give a warning when it comes up, so you can pause the film and provide time stamps to keep in sync.Highlights include:* Welcome to the show James!* James understood the assignment with his pick!* Bede is left feeling confused as Helen Hunt plays a very sexy nerd!* Marcey is confused, what else is new?* Batch really wants us to watch an Evil Bong movie!* Richard Lynch is genuinely creepy in this role!* Frank-N-Furter is that you?* Of course Tim Thomerson's Jack Deth has two wives in this film!* Plus much, much more!Check out The Super Network on Patreon to gain early access to The Tubi Tuesdays Podcast as well as the video version!DISCLAIMER: This audio commentary isn't meant to be taken seriously, it is just a humourous look at a film. It is for entertainment purposes, we do not wish to offend anyone who worked on and in the film, we have respect for you all.Please Visit Our Sponsor For This Episode SurfShark VPNFor More http://linktr.ee/TheTubiTuesdaysPodcast Hosted on Acast. See acast.com/privacy for more information.
This week we take a look at the 1988 film The Blob.This is Episode #367!The Blob is a 1988 American science fiction horror film co-written and directed by Chuck Russell. A remake of the 1958 film of the same name, it stars Shawnee Smith, Kevin Dillon, Donovan Leitch, Jeffrey DeMunn, Paul McCrane, Art LaFleur, Robert Axelrod, Joe Seneca, Del Close and Candy Clark. The plot follows an acidic, amoeba-like organism that crashes down to Earth in a military satellite, which devours and dissolves anything in its path as it grows.Filmed in Abbeville, Louisiana, The Blob was theatrically released in August 1988 by Tri-Star Pictures and was a box office failure, grossing $8.2 million against its budget of approximately $10 million. Though it received a mixed response from critics, the film has since accrued a cult following.
This is Blacklisted Cinema, where you are encouraged to talk during the movie. The movie this episode The Blob is a 1988 American science fiction horror film co-written & directed by Chuck Russell. A remake of the 1958 film of the same name, it stars Shawnee Smith, Kevin Dillon, Donovan Leitch, Jeffrey DeMunn, Paul McCrane, Art LaFleur, Robert Axelrod, Joe Seneca, Del Close & Candy Clark.A deadly entity from space crashes near a small town and begins consuming everyone in its path. Panic ensues as shady government scientists try to contain the horrific creature.Subscribe to us on itunes rate 5* @ https://itunes.apple.com/us/podcast/blacklisted-podcast/id1058504075?mt=2PodOmatic http://blacklisted.podomatic.com/Stitcher http://www.stitcher.com/podcast/blacklisted?refid=stprGoogle Play https://podcasts.google.com/feed/aHR0cHM6Ly9ibGFja2xpc3RlZC5wb2RvbWF0aWMuY29tL3JzczIueG1s IHeartRadio https://www.iheart.com/podcast/256-blacklisted-podcast-30972563/Spotify https://open.spotify.com/show/01L8OZCsaKQZrN2Lm2vb22Amazon Music https://music.amazon.com/podcasts/56990534-aeAudible https://www.audible.com/pd/Blacklisted-Podcast-Podcast/B08K57VXZCOr wherever you steal your free podcast.
Scream (1996) was a damn masterpiece. Easily a 9/10, if to a 10/10. Does this one hold up? Chris is "the Master of Man sciences". Roger is moving! Every guy has that box of cords and adapters. And we will never part with it. Ever. 0:07:30 - Box Office and Upcoming Releases 0:22:30 *** What's Streaming *** DISNEY+ THE SECRETARIAT, Dir. Randall Wallace – Diane Lane, John Malkovich, Margo Martindale, Dylan Walsh, James Cromwell, Scott Glenn. 2010 THE SANDLOT, Dir. David Mickey Evans – Tom Guiry, Mike Vitar, Art LaFleur, Patrick Renna, Dens Leary, Marley Shelton, James Earl Jones. 1993 MR. HOLLAND'S OPUS, Dir. Stephen Herek – Richard Dreyfuss, William H Macy, Terrence Howard, Jean Louisa Kelly, Glenne Headly. 1995 0:23:40 - Trailers - JACKASS FOREVER / MOON KNIGHT / LORD OF THE RINGS: RINGS OF POWER 0:37:30 - SCREAM (2022), Dir. Matt Bettinelli-Olpin / Tyler Gillett (4-6/10) Hosted, produced and mixed by Grayson Maxwell and Roger Stillion. Guest appearance by Christopher Boughan. Music by Chad Wall. Quality Assurance by Anthony Emmett. Visit the new Youtube channel, "For the Love of Cinema" to follow and support our short video discussions. Roger wears aviators! Please give a like and subscribe if you enjoy it. Follow the show on Twitter @lovecinemapod and check out the Facebook page for updates. Rate, subscribe and leave a comment or two. Every Little bit helps. Send us an email to fortheloveofcinemapodcast@gmail.com Thank you for Listening!
Michael Chau joins us for an episode about glass bones and the baseball players who have them. Along the way we learn about the great legacy of the late Art LaFleur, find out whether dudes rock vis a vis monster trucks, and speculate about what size of testicles is a "problem size." Also if you're into the idea of Dr. House getting pee on his we've got some great news for you! And is there a discussion over some of the of the most collar tugging stuff in sitcoms? Yes there is plus much much more! You'll have to listen to find out!
A film festival, The Sandlot, and the weekend we hung out with Art Lafleur. *RIP Art Lafleur 1943-2021 Story performed by: Aaron Calafato Audio Production: Ken Wendt Original Art: Pete Whitehead Music Contributor: thomas j. duke Podcast Coordinator: Cori Birce Creative Consultant: Anthony Vorndran Story Consultant: Jon Wagner
In this episode of the podcast Joe welcomes back former guest and great friend Rebekah Kennedy to the podcast! Rebekah stopped by the show to discuss her latest movie: Los Angeles, and specifically her character 'Jojo' in the film. What transpires is a spoiler-free in-depth look at Jojo in the film, what the process was like for Rebekah, and a brief discussion on upcoming releases (such as 'Two Witches' where Rebekah plays the character 'Masha') Enjoy! About Rebekah Kennedy Rebekah Kennedy, born in Texas, began acting on the stage. Rebekah spent all of her time doing theatre and it wasn't until after she received her B.A. in Musical Theatre from Palm Beach Atlantic University, did she truly discover the screen. When 2010 hit, it quickly showed it would be a promising year. Soon came an amazing opportunity when Rebekah booked a lead role as 15-year-old Hanna in the feature, "House Hunting" with Marc Singer and Art LaFleur and then went on to play 14-year-old Caroline Boutine in the feature, "Creature," starring Mehcad Brooks and Serinda Swan. Then came another wonderful opportunity when she booked a supporting role in the feature, "Season of the Witch" with Nicolas Cage. In 2011, Rebekah made her television debut on the TNT show, "Memphis Beat." She also had a guest star role in the long running TV show "Criminal Minds" on CBS in 2016, the lead guest star Esther Labott in The Book of Esther on "Law & Order SVU" on NBC in 2018, and as the crazy drug addict Melly Wyatt in "Station 19" on ABC. Rebekah first hit the big screen when she played the young Peasant Turk Girl in "Season of the Witch" with Nicolas Cage and Ron Perlman, which landed in theaters January 7, 2011, "Creature" which opened on September 9, 2011, and then as one of the leads in the horror film "Bastard" with After Dark Films and Fox Home Entertainment which opened October 16, 2015, and "A Dark Foe" with Graham Greene and Selma Blair. Rebekah is also heavily involved with reaching out to the homeless and has done work with the Covenant House in Los Angeles and goBE. About Los Angeles "Los Angeles" is the story of Jojo, a young mute, who thinks she hears God calling her to save the Baby Jesus. She packs five angels in a shoe shine kit and takes a one-way trip to Tampa, Florida, where she is picked up by Cash, an escaped convict. The two hit the road with the FBI on their tail. At different cities along the way, Jojo opens her shine kit, and the angels perform. Will Cash get to freedom? Will Jojo save the Baby Jesus? God only knows. To quickly and easily leave a rating/review for this podcast please go to: https://ratethispodcast.com/dtalkspodcast Thanks to Snuffy for this episode of the podcast! Snuffy is a clothing brand about empowering you to show your weird - unapologetically, with bravery and confidence. 10% of profit goes to LGBTQ+ organizations led by Trans* people of color. Shop online now at snuffy.co Also, thanks to Empire Toys for this episode of the podcast! Nostalgia is something everyone loves and Empire Toys in Keller Texas is on nostalgia overload. With toys and action figures from the 70's, 80's, 90's, and today, Empire Toys is a one-stop-shop for a trip down memory lane and a chance to reclaim what was once yours (but likely sold at a garage sale) Check out Empire Toys on Facebook, Instagram, or at TheEmpireToys.com The DTALKS Podcast has also been ranked #9 in the "Top 40 Detox Podcast You Must Follow in 2020" according to Feedspot.com for our work in the Cultural Detox space. Thank you so much to the Feedspot team! https://blog.feedspot.com/detox_podcasts/
Trancers (1984) synopsis: “A gruff bounty hunter travels back in time to 1980s Los Angeles to stop a twisted criminal who can transform people into zombie-like creatures.”Starring: Tim Thomerson, Helen Hunt, Art LaFleur, and Biff ManardDirector: Charles Band“Dry hair is for squids!” This week on Podcasting After Dark, Zak breaks down one of his favorite movies of all time, and his Christmas pick for this year, Trancers by Charles Band! Not only does it star B movie king, Tim Thomerson, but it also features Helen Hunt in one of her first movie roles! You only need to watch Trancers once to see that she was going to be a huge star.With Trancers coming in at a smooth 76 minutes, you'd think this would be our shortest review to date. Wrong! (Said like Charlie Murphy) By now, you all know what we do over here at PAD lol! So, pour some eggnog, smoke a bowl, and settle in for this extra long discussion of this Empire Pictures cult classic film.As always, leave a message on Patreon or social media and let us know what you think of the episode!— SUPPORT PODCASTING AFTER DARK —PATREON - Two extra shows a month, including our celebrity interview series, plus videos and other exclusive content!MERCH STORE - We have a fully dedicated merch store at TeePublic with multiple designs and products!INSTAGRAM / FACEBOOK / LETTERBOXD - Follow us on social media for updates and announcements!Purchase 7 WINTERS ALONE on Amazon: HARDCOVER / PAPERBACK / KINDLEThis podcast is part of the BFOP Network
NBA News, NFL News, MLB News, NHL News, WNBA News, Coronavirus impact on the sports & entertainment, CBS's FBI International, ABC's Queens, Fox's Fantasy Island, a Farewell to Doug Jones, Steve Smith, Cecil Hurt, Will Ryan, Lou Cutell, Billy Hinsche, Mick Rock, Joey Morgan, Keith Allison, Emi Wada, Jay G Jacobs, Young Dolph, Art LaFleur, Bergen Williams, Dave Frishberg & Bill Virdon. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/on-the-radar/support
Welcome to the RMPodcast! Review:Ghostbusters Afterlife aka How to save face after producing Ghostbusters (2016) (@ 8:40) Relationships Segment (@ 1:09:25) Ghostbusters Afterlife is finally here, but does it live up to the originals, and does it finally redeem the franchise after Paul Feig's debacle? While Red Moon is not afraid to cover the politics in Hollywood, we do prefer to avoid it, yet when Hollywood's moral depravity takes center stage we have to speak our mind. It's a heavy show, but we will dive in this week to the Hollywood elites dishonesty and their reactions to the Kyle Rittenhouse trial. In our unique weekly segment we discuss those we are thankful for, as Thanksgiving is finally here! Remember you can catch us LIVE every Tuesday at 9pm EST on Facebook and YouTube! Have you seen Ghostbusters yet, and if so did it live up to the hype? Want to share your feelings on the current state of Hollywood? Disagree with our thoughts and wish to tell us just how ignorant you find us? Well we welcome all opportunities for discussion so please share with us by emailing us at rmpodcast@redmoonproductions.com! Be sure to check out all Red Moon has to offer by visiting our website: www.redmoonproductions.com Headlines: Numerous Hollywood elites demonstrate their moral depravity Legally Blonde J-Law defends Leo's bigger salary Art LaFleur passes at 78
The Blob (1988) is a damn good time at the movies. This remake of the 1950s classic is both faithful and surprising, and features some nifty special effects for the time. And this is how we said farewell to veteran character actor Art LaFleur who passed away this week. Ribbed. The post BMFcast528 – The Blob – Art La Flurries first appeared on Bad Movie Fiends Podcast - The BMFcast.
Multiverse Tonight - The Podcast about All Your Geeky Universes
In this combined Sci-Fi and Comic Book edition of the show, Thomas talks about Dark Horse getting back in the Star Wars comic book game, Discovery's abrupt yanking from International markets, Dr. Strange goes into reshoots, Warner Combat, Groo, and we remember Dean Stockwell, Peter Akroyd, Art LaFleur, and Will Ryan. All that and more on this Thanksgiving edition of Multiverse Tonight!Support the show (https://ko-fi.com/multiverse)
This episode is also available as a blog post: https://wordsmusicandnews.com/2021/11/20/actor-art-lafleur-dies/ --- Support this podcast: https://anchor.fm/sherrill-fulghum/support
This week on the Video Junkyard Podcast we continue to check out the 1984 cult science fiction film "Trancers" directed by Charles Band and starring Tim Thomerson, Helen Hunt, and Art LaFleur. Thomerson plays Jack Deth - a tough-as-nails cop in the 23rd century who travels back to the 1980s to stop an evil mind-controlling time traveler. Originally released by Band's Empire Pictures, the film spawned five sequels through Full Moon. Does Trancers (aka Future Cop)stand up down the line of time? Or is it just trash for squids? Check out the film on TubiTV for free then join us for the review on the Video Junkyard Podcast!
A secret government has been trying to create the ultimate killer using the DNA of infamous killers Jeffrey Dahmer and John Wayne Gacy, but there's one big problem: they've escaped! Bloody mayhem stretches across the United States as they... See more » Director: Ford Austin Writers: Andrew J. Rausch, Chris Watson Stars: Ford Austin, Art LaFleur, Randal Malone See more » Awards: 3 wins & 1 nomination. See more » --- Send in a voice message: https://anchor.fm/gruesome-hertzogg/message Support this podcast: https://anchor.fm/gruesome-hertzogg/support
The Sandlot (1993) Directed and Narrated by: David Mickey Evans Starring: Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Adams, Grant Gelt, Shane Obedzinski, Victor DiMattia, Denis Leary, Karen Allen, Art LaFleur, and James Earl Jones Genre: Sports/Comedy
Charles Band made a Science Fiction film...about World War 2? We did Nazi that coming. Empire strikes out in this sluggish action attempt. Tim Thomerson and a handful of others from Empire's Trancers star in this flick that shows, somethings are obscure for a reason.Starring:Tim Thomerson, Timothy Van Patten, Art LaFleur, Biff Manard, William Paulson
In this episode of the science fiction podcast 'The ACE: Atomic Cinema Experiment,' we discuss the 1980s remake of 'The Blob.' The film is Directed by Chuck Russell and stars Shawnee Smith, Kevin Dillon, Donovan Leitch Jr., Jeffrey DeMunn, Art LaFleur. patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/Mild_Fuzz facebook: https://www.facebook.com/mildfuzznetwork Email: mftvquestions@gmail.com Audio version: https://the-ace-atomic-cinema-experime.pinecast.co UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-us SciFiPodcast #SciFi #ScienceFiction
Hosts Moe Long (CupOfMoe.com, @mitchellclong on Twitter and Instagram) and Gabe Orto talk 1993 "The Sandlot," directed by David Mickey Evans and starring Tom Guiry, Mike Vitar, Art LaFleur, Karen Allen, Denis Leary, James Earl Jones, and Patrick Renna. In the summer of 1962, new kid in town Scotty Smalls makes a ragtag group of friends at the local sandlot baseball field. Moe and Gabe chat favorite baseball movies, summer flicks, and get sidetracked with a discussion of "It Follows."
This week we have Zack Evans of the @WrestleboysCast for another installment of My Stupid Team, covering those losers for whom our love is undetermined: The Mariners! Also we meant Art Lafleur not Ed O'Neill, & we talk airline food at the 3:00 mark but it got weirdly cut off. Also Adam v. Babe and Harold Baines! Listen to this episode if you want to hear us talk about Toilet Phones, the Baines Line, Goofus the Warmonger, and Freedom Dingers. Also baseball. @ThatBBShow and leave an iTunes review, Instapugs!
We have a treat of a movie this week! Field of Dreams is not only known for being one of the best baseball movies of all time, but it's simply a wonderful film. Nominated for 3 awards at the 1990 Oscars (Best Picture, Best Adapted Screenplay, Best Music for James Horner's exquisite score). This movie's got it all. Kevin Costner doing what he does best alongside Amy Madigan who slays it as the ride-or-die hippie wife. Gaby Hoffmann makes her acting debut as the sweet and undeterrable Karin Kinsella. I could go on and on. It's filled with that guys galore (Timothy Busfield, Frank Whaley, Art LaFleur), while the heavy hitters (Ray Liotta, James Earl Jones) absolutely knock it out of the park (pun intended). Really, what's not to like about this movie? It's a small town fantasy story wrapped around the American Pastime. We grew up in a small town with a strong farming community, so we have a bit of a direct perspective. Unfortunately, it took us entirely too long to get the audio set up, so we started way late. Like, 2 hours passed my bedtime, late. So get a little rambly in the middle of the pod, but we recover to have a really strong recasting session, so either hang in there, or skip to the third segment. As always, thanks so much for listening to the show. Hit us up on twitter (@recastingpod) and tell us your picks or to send us your suggestions for future recasts. You can also always shoot us an email at recastingpod@gmail.com. Help us grow our audience by telling a friend or two, or five or thirty, or just leave us a 5 star review on iTunes or wherever you consume podcasts. Link to IMDB Link to Amazon
Recorded live at The Creative Alliance in Baltimore, MDOn the final Summer Vacation Live of 2018, it's a real WLM situation as the gang chats about the ridiculously entertaining Stallone vehicle, Cobra! What was he thinking putting that newspaper inside a backyard grill like that? What childhood trauma led Cobretti to cut his frozen pizza with scissors? And is this the worst police sketch in film history? PLUS: Would a Halloween film written and starring Stallone work? (Probably not.)Cobra stars Sylvester Stallone, Brigitte Nielsen, Reni Santoni, Andrew Robinson, Brian Thompson, Lee Garlington, Art LaFleur, and David Rasche; directed by George P. Cosmatos.
In Episode 60 of The Cinescope Podcast, Chad and Mikey talk about one of their favorite movies, The Sandlot! The Cinescope Podcast on iTunes Show Notes The Sandlot on iTunes (no soundtrack for The Sandlot) Stats Released April 7, 1993 Dir. David Mickey Evans (First Kid, Beethoven's 3rd, Beethoven's 4th, The Sandlot 2, The Final Season, Ace Ventura Jr.: Pet Detective, Smitty) Written by David Mickey Evans, Robert Gunter Music by David Newman (The Brave Little Toaster, Bill & Ted's Excellent Adventure, DuckTales the Movie: Treasure of the Lost Lamp, Bill & Ted's Bogus Journey, The Mighty Ducks, The Flintstones, Tommy Boy, Matilda, Anastasia, Galaxy Quest, Serenity, Tarzan (2013), Girls Trip) Starring Tom Guiry, Mike Vitar, Patrick Renna, Chauncey Leopardi, Marty York, Brandon Quintin Adams, Grant Gelt, Victor Di Mattia, Shane Obedzinski, Karen Allen, Denis Leary, James Earl Jones, Marley Shelton, and Art LaFleur Contact Mikey Twitter Reel World Theology Facebook Discussion Group Chad Twitter Facebook Letterboxd An American Workplace | A Retrospective The Office Podcast Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guest: Mikey Fissel.
What would you do if you were a Canadian detective in LA? That’s where we find JCVD in this latest episode. Jeff and John take on this 1990 classic, “Death Warrant.” Jean-Claude plays Louis Burke and he’s on a mission to capture Sandman. Wait, he kind of already did that. Let’s try that again. Jean-Claude […]
Hi all 16 is here! I first want to say sorry again for last weeks sound but this one is all good... other then the movies. we talk Zone troopers Director: Danny Bilson, staring Tim Thomerson,Timothy Van Patten,Art LaFleur. And Underworld Blood Wars, Director: Anna Foerster staring Kate Beckinsale, Theo James, which I HAD high hopes for. The tournament continues as Hannibal takes on Max Cady. This weeks promos are The Countdown: Movie and TV Reviews which you can find on twitter @thecountdownpc. Also epic film guys who you can find @EpicFilmGuys. You can find us at http://gowatchamovie.podomatic.com/ https://itunes.apple.com/us/podcast/go-watch-a-movie/id1161247427 Gowatchamovie.com and anywhere else you can listen to a podcast!
On this week's show, the gang brings the Christmas cheer as they rag on the sad sequel, The Santa Clause 3: The Escape Clause! What's with the weird Mrs. Claus Stockholm syndrome situation? Why do we need the counsel of lame holiday figures? And why are we doing this It's a Wonderful Life/Back to the Future II alternate timeline crap? PLUS: Michael Dorn opens up a t-shirt factory. The Santa Clause 3 stars Tim Allen, Elizabeth Mitchell, Eric Lloyd, Judge Reinhold, Wendy Crewson, Spencer Breslin, Martin Short, Ann-Margret, Alan Arkin, Art LaFleur, Aisha Tyler, Kevin Pollak, Jay Thomas, and Michael Dorn; directed by Michael Lembeck.
in 1967 Edouard Molinaro adapted a frantic vaudevillian style play by Claude Mognier into the first screen adaptation of Oscar. In 1991 John Landis Americanized the French version by setting into the gangster 30's era with an all-star cast featuring Sylvester Stallone, Ornella Muti, Peter Riegert, Chazz Palminteri, Art LaFleur, Tim Curry, Vincent Spano, Linda Gray, Marisa Tomei, with a special appearance by Kirk Douglas! Can the gangsters take on the madness of the French? Listen to this weeks episode and find out. Become an Invader by giving us a 5-star rating on iTunes & Stitcher and tell your friends about the podcast. Like us on Facebook: https://www.facebook.com/invasionoftheremake/ Follow us on Twitter: @InvasionRemake Email us: invasionoftheremake@gmail.com
Directed by Charles Band, Trancers stars Tim Thomerson as Jack Deth, a detective in the future who travels back in time to track down a cultish criminal named Whistler.
Natalie's back from the east coast and Wayne is proud of The New England Patriots. Veteran actors Art LaFleur and Sam Ingraffia talk serial killers, the subject of their YouTube web series Shoot To Kill, and sticking it out in the "biz" for over 30 years. Featuring Music – From the Grammy Nominated David & Devine Art LaFleur IMDb Sam Ingraffia IMDb
Steve Cooper talks with actor Art LaFleur. Art has had many guest-starring roles on television series that include JAG, Angel, Webster, Benson, Northern Exposure, Home Improvement, ER, Boy Meets World, The Practice, Malcolm in the Middle, Cold Case and The Mentalist. He is also a familiar face to the big screen where some of his roles include Babe Ruth in The Sandlot, the Tooth Fairy in The Santa Clause 2 & 3 and Chick Gandil in Field of Dreams. He also has appeared in numerous other movies such as The Man with One Red Shoe, City Heat, WarGames, Cobra, Death Warrant, Jack the Bear, Forever Young and Bad Guys.
It's Time D-Heads! The Tooth Fairy, Babe Ruth, and the Face You Know is all here as we have ART LAFLEUR stopping into the show this week! Art is a face you know in movies from The Santa Clause, The Sandlot, Field of Dreams, Man of the House and more! Art is stopping in to talk about his career, upcoming projects and what's on the horizon. In addition we have the D-Team back this week! Lexie, our D-Team Member from Down Under, is back giving you a history and backstory of our special guest Art LaFleur. Jason is here with The Vault giving you another Blu-Ray and DVD review and we have a special treat as we have the debut of an All-New D-Team Member segment with I Want to Know. We have tributes all show long for the dearly missed Annette Funicello. There is a ton of news hot off the D-Wire and all kinds of magic and fun! So it's time to Put on Your Ears, Give it a Little Bibbidi Bobbidi Boo, and get ready to Relive the Magic, Memories and Appreciation from Your Lifetime of Disney with our New Kind of Disney Show!
It's Time D-Heads! The Tooth Fairy, Babe Ruth, and the Face You Know is all here as we have ART LAFLEUR stopping into the show this week! Art is a face you know in movies from The Santa Clause, The Sandlot, Field of Dreams, Man of the House and more! Art is stopping in to talk about his career, upcoming projects and what's on the horizon. In addition we have the D-Team back this week! Lexie, our D-Team Member from Down Under, is back giving you a history and backstory of our special guest Art LaFleur. Jason is here with The Vault giving you another Blu-Ray and DVD review and we have a special treat as we have the debut of an All-New D-Team Member segment with I Want to Know. We have tributes all show long for the dearly missed Annette Funicello. There is a ton of news hot off the D-Wire and all kinds of magic and fun! So it's time to Put on Your Ears, Give it a Little Bibbidi Bobbidi Boo, and get ready to Relive the Magic, Memories and Appreciation from Your Lifetime of Disney with our New Kind of Disney Show!
In the midst of a tropical storm, the crew of an offshore oil rig must survive the rampage of a creature after invading its undersea habitat. Director: Peter Atencio Writers: Scott Martin (original screenplay), Marilee A. Benson (screenplay), and 2 more credits » Stars: Serah D'Laine, William Forsythe and Art LaFleur
Episode #004 of On Screen & Beyond - Art LaFleur joins us to talk about his career and his films, such as "The Sandlot", "The Santa Clause 2" and "The Santa Clause 3" and his other films --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/on-screen-and-beyond/message
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