Podcast appearances and mentions of billy connelly

On this Weeks Episode Will, Ian and Nora Suffer through a movie so you don't have to. That's right, they revisit a 25 yr old "cult classic", a film that some could argue helped define a generation of young men. A movie that has a "philosophy" that bleeds directly into MAGA. A movie so many will defend as Campy fun, when it reality is a massive turd that deceived many a youth, and wasn't good enough to revisit, just maintain a pedestaled place in the minds of many (mostly men). We throw some takes folks may consider "Hot", but are in fact, and should be, Cold at this point. Because they are true. Just look at the critic/audience score disparity on Rotten Tomatoes, it's a bad movie, it's- THE BOONDOCK SAINTS (1999) R. 108 minutes Directed & Written by: Troy Duffy. Starring: Sean Patrick Flannery, Norman Reedus, Willem Dafoe, Billy Connelly, David Della Rocca, Bob Marley, David Ferry, Brian Mahoney, Ron Jeremy, and other people.... 00:01:00- First Thoughts 00:14:30- Whatcha Been Watchin'? (Will- Dune: Prophecy, Day of the Jackal, Red One, Venom 3: The Last Dance. Ian- The Wild Robot, An Almost Christmas Story, Toast of London, St. Denis Medical- Nora- Star Wars Burlesque (The Empire Strips Back. Live Show), Vertigo, Interview with a Vampire (TV Series), The Penguin.) 00:23:00- THE BOONDOCK SAINTS (1999) 00:27:30- Tasty Morsels 00:33:00- Rating/Review 01:12:30- Totals 01:13:30- Next Week/Bye Patreon: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠patreon.com/THELastActionCritics⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Instagram: @TheLastActionCritics email: Thelastactioncritics@gmail.com Next Week: WICKED

SUNSHINE! Lessssss go. Summer is short and sweet in Canada and I dunno about you, but I'm feeling the pressure to lock in as much outdoor recreation as possible. Today will be beautiful but guess what - we're still due cooler temps and rain tomorrow and in particular Thursday! But as Billy Connelly said: 'there's no such thing as bad weather, just bad clothing.' Or something like that ;)

Welcome, listeners, to another episode of “Shooting The Shit! Today, your hosts Sean and Michael are ready to dish out a plethora of topics. Get ready as Michael fearlessly discloses his weight, while the duo shares their thoughts on Roman Reigns seemingly dwarfed by The Rock. Michael also has a special message for all the slackers out there in any workforce. But that's not all! They'll dive into the latest tech craze with the iCook Headset and discuss some epic product launch fails, including the highly anticipated Cyberpunk and Apple Vision Pro. Then, they'll explore the gripping phenomenon of FOMO in the crypto market, offering insights into its impact. Hold onto your seats as Sean shares a poignant message if AI happens to be eavesdropping on the conversation. Plus, they recount Michael's miraculous car crash, leaving his vehicle unscathed, and discuss the legendary Billy Connelly's brave venture into chicken vindaloo. So, grab your favourite beverage and tune in for a rollercoaster ride of laughs, insights, and maybe even a few surprises along the way!

This week on Drama School Dropout I am joined by the amazing, Santino Smith. We chat about Moorcroft, pressure and expectations, acting becoming a family affair, playing ages, training in Cardiff, the unique differences between studying at Drama School versus a traditional degree, group warm ups, bare feet, the Scottish theatre scene, breaking into the industry, how Moorcroft has changed the landscape of theatre, toxic masculinity, our favourite Moorcroft moments, moving scenery, Billy Connelly, Stephen Graham, grabbing the wrong props and what food dish we would be. Submit your story for Stage Right or Stage Shite: https://forms.gle/1p296t4Uu1F1XVvN9 Host: Ingram Noble Guest: Santino Smith Producers: Heather Spiden & Ingram Noble Links: Ingram's Instagram & Twitter: @ingramnoble Santino's Instagram: @piacentini94 Patreon: www.patreon.com/dramaschooldropout Get Tickets! Moorcroft Tour Tickets: https://www.nationaltheatrescotland.com/events/moorcroft Flatmates Tickets: www.ticketsource.co.uk/flatmates This Is Where We Get Off Tour Tickets: www.thisiswherewegetoff.co.uk

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films. ----more---- TRANSCRIPT   From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens/ Thank you for listening today.   On this episode, we're going to start a miniseries that I've been dreading doing, not because of the films this company produced and/or released during the 1980s, but because it means shining any kind of light on a serial sexual assaulter and his enabling brother. But one cannot do a show like this, talking about the movies of the 1980s, and completely ignore Miramax Films.   But I am not here to defend Harvey Weinstein. I am not here to make him look good. My focus for this series, however many they end up being, will focus on the films and the filmmakers. Because it's important to note that the Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and the two that they did have a hand in making, one a horror film, the other a comedy that would be the only film the Weinsteins would ever direct themselves, were distributed by companies other than Miramax.   But before I do begin, I want to disclose my own personal history with the Weinsteins. As you may know, I was a movie theatre manager for Landmark Theatres in the mid 1990s, running their NuWilshire Theatre in Santa Monica. The theatre was acquired by Landmark from Mann Theatres in 1992, and quickly became a hot destination for arthouse films for those who didn't want to deal with the hassle of trying to get to the Laemmle Monica 4 about a mile away, situated in a very busy area right off the beach, full of tourists who don't know how to park properly and making a general nuisance of themselves to the locals. One of the first movies to play at the NuWilshire after Landmark acquired it was Quentin Tarantino's debut film, Reservoir Dogs, which was released by Miramax in the fall of 1992. The NuWilshire quickly became a sort of lucky charm to Harvey Weinstein, which I would learn when I left the Cineplex Beverly Center in June 1993 to take over the NuWilshire from my friend Will, the great-grandson of William Fox, the founder of Fox Films, who was being promoted to district manager and personally recommended me to replace him.   During my two plus years at the NuWilshire, I fielded a number of calls from Harvey Weinstein. Not his secretary. Not his marketing people.    Harvey himself.   Harvey took a great interest in the theatre, and regularly wanted feedback about how his films were performing at my theatre. I don't know if he had heard the stories about Stanley Kubrick doing the same thing years before, but I probably spoke to him at least once a month. I never met the man, and I didn't really enjoy speaking with him, because a phone call from him meant I wasn't doing the work I actually needed to do, but keeping Harvey would mean keeping to get his best films for my theatre, so I indulged him a bit more than I probably should have.   And that indulgence did occasionally have its perks. Although I was not the manager of the NuWilshire when Reservoir Dogs played there, Quentin Tarantino personally hand-delivered one of the first teaser posters for his second movie, Pulp Fiction, to me, asking me if I would put it up in our poster frame, even though we both knew we were never going to play the film with the cast he assembled and the reviews coming out of Cannes. He, like Harvey Weinstein, considered the theatre his lucky charm. I put the poster up, even though we never did play the film, and you probably know how well the film did. Maybe we were his lucky charm.   I also got to meet Kevin Smith and Scott Mosier weeks before their first film, Clerks, opened. We hosted a special screening sponsored by the Independent Feature Project, now known as Film Independent, whose work to help promote independent film goes far deeper than just handing out the Spirit Awards each year. Smith and Mosier were cool cats, and I was able to gift Smith something the following year when he screened Mallrats a few weeks before it opened.   And, thanks to Miramax, I was gifted something that ended up being one of the best nights of my life. An invitation to the Spirit Awards and after-party in 1995, the year Quentin Tarantino and Lawrence Bender won a number of awards for Pulp Fiction. At the after-party, my then-girlfriend and I ended up drinking tequila with Toni Collette, who was just making her mark on American movie screens that very weekend, thanks to Miramax's release of Muriel's Wedding, and then playing pool against Collette and Tarantino, while his Spirit Awards sat on a nearby table.   Twenty feet from stardom, indeed.   I left that job at the end of the summer in 1995, and I would not be involved with the Weinstein Brothers for a number of years, until after I had moved to New York City, started FilmJerk, and had become an established film critic. As a critic, I had been invited to an advance screening of Bad Santa at the AMC Empire 25, and on the way out, Bob Weinstein randomly stopped me in the lobby to ask me a few questions about my reaction to the film. Which was the one and only time I ever interacted with either brother face to face, and would be the last time I ever interacted with either of them in any capacity.   As a journalist, I felt it was necessary to disclose these things, although I don't believe these things have clouded my judgment about them. They were smart enough to acquire some good films early in their careers, built a successful distribution company with some very smart people who most likely knew about their boss's disgusting proclivities and neither said nor did anything about it, and would eventually succumb to the reckoning that was always going to come to them, one way or another. I'm saddened that so many women were hurt by these men, physically and emotionally, and I will not be satisfied that they got what was coming to them until they've answered for everything they did.   Okay, enough with the proselytizing.    I will only briefly go into the history of the Weinstein Brothers, and how they came to found Miramax, and I'm going to get that out of the way right now.   Harvey Weinstein and his younger brother Bob, were born in Queens, New York, and after Harvey went to college in Buffalo, the brothers would start up a rock concert promotion company in the area. After several successful years in the concert business, they would take their profits and start up an independent film distribution company which they named Miramax, after their parents, Miriam and Max. They would symbolically start the company up on December 31st, 1979.   Like the old joke goes, they may have been concert promoters, but they really wanted to be filmmakers. But they would need to build up the company first, and they would use their connections in the music industry to pick up the American distribution rights to Rockshow, the first concert movie featuring Paul McCartney and his post-Beatles band Wings, which had been filmed during their 1976 Wings Over the World tour. And even from the start, Harvey Weinstein would earn the derisive nickname many people would give him over the years, Harvey Scissorhands, as he would cut down what was originally a 125min movie down to 102mins.   Miramax would open Rockshow on nine screens in the New York City area on Wednesday, November 26th, 1980, including the prestigious Ziegfeld Theatre, for what was billed as a one-week only run. But the film would end up exceeding their wildest expectations, grossing $113k from those nine screens, including nearly $46k just from the Ziegfeld. The film would get its run extended a second week, the absolute final week, threatened the ads, but the film would continue to play, at least at the Ziegfeld, until Saturday December 13th, when the theatre was closed for five days to prepare for what the theatre expected to be their big hit of the Christmas season, Neil Diamond's first movie, The Jazz Singer. It would be a sad coincidence that Rockstar's run at the Ziegfeld had been extended, and was still playing the night McCartney's friend and former bandmate John Lennon was assassinated barely a mile away from the theatre.   But, strangely, instead of exploiting the death of Lennon and capitalize on the sudden, unexpected, tragic reemergence of Beatlemania, Miramax seems to have let the picture go. I cannot find any playdates for the film in any other city outside of The Big Apple after December 1980, and the film would be unseen in any form outside a brief home video release in 1982 until June 2013, when the restored 125min cut was released on DVD and Blu-Ray, after a one-night theatrical showing in cinemas worldwide.   As the Brothers Weinstein were in the process of gearing up Miramax, they would try their hand at writing and producing a movie themselves. Seeing that movies like Halloween and Friday the 13th were becoming hits, Harvey would write up a five-page treatment for a horror movie, based on an upstate New York boogeyman called Cropsey, which Harvey had first heard about during his school days at camp. Bob Weinstein would write the script for The Burning with steampunk author Peter Lawrence in six weeks, hire a British music documentary filmmaker, Tony Maylam, the brothers knew through their concert promoting days, and they would have the film in production in Buffalo, New York, in the summer of 1980, with makeup effects by Tom Savini.   Once the film was complete, they accepted a purchase deal from Filmways Pictures, covering most of the cost of the $1.5m production, which they would funnel right back into their fledgling distribution company. But when The Burning opened in and around the Florida area on May 15th, 1981, the market was already overloaded with horror films, from Oliver Stone's The Hand and Edward Bianchi's The Fan, to Lewis Teague's Alligator and J. Lee Thompson's Happy Birthday to Me, to Joe Dante's The Howling and the second installment of the Friday the 13th series. Outside of Buffalo, where the movie was shot, the film did not perform well, no matter how many times Filmways tried to sell it. After several months, The Burning would only gross about $300k, which would help drive Filmways into bankruptcy. As we talked about a couple years ago on our series about Orion Pictures, Orion would buy all the assets from Filmways, including The Burning, which they would re-release into theatres with new artwork, into the New York City metropolitan region on November 5th, 1982, to help promote the upcoming home video release of the film. In just seven days in 78 theatres, the film would gross $401k, more than it had earned over its entire run during the previous year. But the film would be gone from theatres the following week, as many exhibitors do not like playing movies that were also playing on cable and/or available on videotape. It is estimated the film's final gross was about $750k in the US, but the film would become a minor success on home video and repeated cable screenings.   Now, some sources on the inter webs will tell you the first movie Miramax released was Goodbye, Emmanuelle, based in part on a profile of the brothers and their company in a March 2000 issue of Fortune Magazine, in which writer Tim Carvell makes this claim. Whether this info nugget came from bad research, or a bad memory on the part of one or both of the brothers, it simply is not true. Goodbye, Emmanuelle, as released by Miramax in an edited and dubbed version, would be released more than a year after Rockshow, on December 5th, 1981. It would gross a cool $241k in 50 theatres in New York City, but lose 80% of its screens in its second week, mostly for Miramax's next film, a low budget, British-made sci-fi sex comedy called Spaced Out.   Or, at least, that's what the brothers thought would be a better title for a movie called Outer Touch in the UK.   Which I can't necessarily argue. Outer Touch is a pretty dumb title for a movie. Even the film's director, Normal Warren, agreed. But that's all he would agree with the brothers on. He hated everything else they did to his film to prepare it for American release. Harvey would edit the film down to just 77mins in length, had a new dub created to de-emphasize the British accents of the original actors, and changed the music score and the ending. And for his efforts, Weinstein would see some success when the film was released into 41 theatres in New York on December 11th, 1981. But whether or not it was because of the film itself, which was very poorly reviewed, or because it was paired with the first re-issue of The Groove Tube since Chevy Chase, one of the actors in that film, became a star, remains to be seen.   Miramax would only release one movie for all of 1982, but it would end up being their first relative hit film.   Between 1976 and 1981, there were four live shows of music and comedy in the United Kingdom for the benefit of Amnesty International. Inspired by former Monty Python star John Cleese, these shows would raise millions for the international non-governmental organization focused on human rights issues around the world. The third show, in 1979, was called The Secret Policeman's Ball, and would not only feature Cleese, who also directed the live show, performing with his fellow Pythons Terry Jones and Michael Palin, but would also be a major launching pad for two of the most iconic comedians of the 1980s, English comedian Rowan Atkinson and Scottish comedian Billy Connelly. But unlike the first two Amnesty benefit shows, Cleese decided to add some musical acts to the bill, including Pete Townshend of The Who.   The shows would be a big success in the United Kingdom, and the Weinsteins, once again using their connections in the music scene, would buy the American film rights to the show before they actually incorporated Miramax Films. That purchase would be the impetus for creating the company.   One slight problem, though.   The show was, naturally, very British. One bit from the show, featuring the legendary British comedian and actor Peter Cook, was a nine-minute bit summing up a recent bit of British history, the leader of the British Labour Party being tried on charges of conspiracy and incitement to murder his ex-boyfriend, would not make any sense to anyone who wasn't following the trial. All in all, even with the musical segments featuring Townshend, the Weinsteins felt there was only about forty minutes worth of material that could be used for a movie.   It also didn't help that the show was shot with 16mm film, which would be extremely grainy when blown up to 35mm.   But while they hemmed and hawed through trying to shape the film. Cleese and his show partners at Amnesty decided to do another set of benefit shows in 1981, this time called The Secret Policeman's Other Ball. Knowing that there might be interest in a film version of this show, the team would decide to shoot this show in 35mm. Cleese would co-direct the live show, while music video director Julien Temple would be in charge of filming. And judging from the success of an EP released in 1980 featuring Townshend's performance at the previous show, Cleese would arrange for more musical artists to perform, including Jeff Beck, Eric Clapton, Phil Collins, Donovan, Bob Geldof, Sting, and Midge Ure of Ultraviolet. In fact, it would be because of their participation in these shows that would lead Geldof and Ure to form Band Aid in 1984, which would raise $24m for famine relief in Ethiopia in just three months, and the subsequent Live Aid shows in July 1985 would raise another $126m worldwide.   The 1981 Amnesty benefit shows were a success, especially the one-time-only performance of a supergroup called The Secret Police, comprising of Beck, Clapton, Geldof and Sting performing Bob Dylan's I Shall Be Released at the show's closing, and the Weinsteins would make another deal to buy the American movie rights to these shows. While Temple's version of the 1981 shows would show as intended for UK audiences in 1982, the co-creator of the series, British producer Martin Lewis, would spend three months in New York City with Harvey Weinstein at the end of 1981 and start of 1982, working to turn the 1979 and 1981 shows into one cohesive movie geared towards American audiences. After premiering at the Los Angeles International Film Exposition in March 1982, The Secret Policeman's Other Ball would open on nine screens in the greater New York City metropolitan area on May 21st, but only on one screen in all of Manhattan. And in its first three days, the movie would gross an amazing $116k, including $36,750 at the Sutton theatre in the Midtown East part of New York City. Even more astounding is that, in its second weekend at the same nine theaters, the film would actually increase its gross to $121k, when most movies in their second week were seeing their grosses drop 30-50% because of the opening of Rocky III. And after just four weeks in just New York City, on just nine or ten screens each week, The Secret Policeman's Other Ball would gross more than $400k. The film would already be profitable for Miramax.   But the Weinsteins were still cautious. It wouldn't be until July 16th when they'd start to send the film out to other markets like Los Angeles, where they could only get five theatres to show the film, including the brand new Cineplex Beverly Center, itself opening the same day, which, as the first Cineplex in America, was as desperate to show any movie it could as Miramax was to show the movie at any theatre it could.   When all was said and done, The Secret Policeman's Other Ball would gross nearly $4m in American theatres.   So, you'd think now they had a hit film under their belts, Miramax would gear up and start acquiring more films and establishing themselves as a true up and coming independent distributor.   Right?   You'd think.   Now, I already said The Secret Policeman's Other Ball was their only release in 1982.   So, naturally, you'd think their first of like ten or twelve releases for 1983 would come in January.   Right?   You'd think.   In fact, Miramax's next theatrical release, the first theatrical release of D.A. Pennebaker's Ziggy Stardust and the Spiders from Mars concert film from the legendary final Ziggy show at the Hammersmith Odeon in London on July 3, 1973, would not come until December 23rd, 1983. And, for the third time in three years, it would be their music connections that would help the Weinsteins acquire a film.   Although the Ziggy Stardust movie had been kicking around for years, mostly one-night-only 16mm screenings on college campuses and a heavily edited 44min version that aired once on American television network ABC in October 1974, this would be the first time a full-length 90min version of the movie would be seen. And the timing for it couldn't have come at a better time. 1983 had been a banner year for the musician and occasional actor. His album Let's Dance had sold more than five million copies worldwide and spawned three hit singles. His Serious Moonlight tour, his first concert tour in five years, was the biggest tour of the year. And he won critical praise for his role as  a British prisoner of war in Nagisa Ōshima's powerful Japanese World War II film Merry Christmas, Mr. Lawrence.   The Weinsteins would enlist the help of 20th Century Fox to get the film into theatres during a very competitive Christmas moviegoing season. But despite their best efforts, Fox and Miramax could only nab one theatre in all of New York City, the 8th Street Playhouse in lower Manhattan, and five in Los Angeles, including two screens at the Cineplex Beverly Center. And for the weekend, its $58,500 gross would be quite decent, with a per screen average above such films as Scarface, Sudden Impact and Yentl. But in its second weekend, the all-important Christmas week, the gross would fall nearly 50% when the vast majority of movies improve their grosses with kids out of school and wage earners getting time off for the holidays. Fox and Miramax would stay committed to the film through the early part of 1984, but they'd keep costs down by rotating the six prints made for New York and Los Angeles to other cities as those playdates wound down, and only buying eighth-page display ads in local newspapers' entertainment section when it arrived in a new city. The final gross would fall short of half a million dollars, but the film would find its audience on home video later in the year. And while the Weinsteins are no longer involved with the handling of the film, Ziggy Stardust and the Spiders from Mars will be getting a theatrical release across the planet the first week of July 2023, to coincide with the 50th anniversary of the concert.   So, here were are, four years into the formation of Miramax Films, and they only released five films into theatres, plus wrote and produced another released by Filmways. One minor hit, four disappointments, and we're still four years away from them becoming the distributor they'd become. But we're going to stop here today because I like to keep these episodes short.   Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1984 to 1987.   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.

Episode 46 of Season 5 aired on Rebel Rock radio at 7 pm on 17 Nov 2022.  The show started a bit differently for a change.  Instead of the usual full-throttle Rock ‘n' Roll we eased in with the classic ‘Judas' version of Bob Dylan's brilliant ‘Like a Rolling Stone'.  From there we went with ‘Squealer', one of the early ACDC tracks off Dirty Deeds Done Dirt Cheap.  It was decided that if you could have a night on the town with one of the dead rock stars then Bon Scott would be a seriously good guy to pick.  From there some Black Spiders off Sons of the North and then off to Aussie for a band called Catelano, the track was ‘Saturday Night', cool track, good times.   We checked out some Texas Hippie Coalition and a track called ‘Pissed Off and Mad About It' and that morphed into a bit of Chickenfoot. Joe Satriani showed once again just how brilliant he is when he is in a kick-ass band.   Def Leppard went down well with a track called 'All We Need' off their latest album Diamond Star Halos. It went a bit soft with Courtney Love and Hole not shouting and smashing things so I fixed that with Zakk Wylde, Buckcherry, Overkill, and Parkway Drive.  For a change, we played a track by Ghost called ‘Twenties' and then had three in a row while I had to take care of some work stuff, the joys of running a factory on night shift ☹.  The three were from Motörhead, The Dead Daisies, and Sons of Liberty, out of Bristol in the UK nogal.   We checked out the new Rebel Rock Jingle kindly recorded by Prawn of Diverted Disorder and then we took a listen to 'Destroyed by Fate' (Feat Jared Gunston) by Diverted Disorder.  The Color Blew with Liaan Horton on vocals and Timothy James on guitar kept the SA music flag high with a track called 'O.D'.  From there it was four serious rock tracks from Devils Train, Badlands, Iron Allies, and Skid Row.  The new Skid Row, The Gang's All Here is so good, its heading for a top ten finish for TSORR best albums of 2022.  Last week we missed the Punk section so I fixed it this week with Stiff Little Fingers and The Clash and then we played ‘Ain't It Fun', the classic written by the guys in Rocket From The Tomb but who went off to record it in The Dead Boys and then later the definitive version done by G'n'R, this version is live and right on the edge, if you don't get it, it's not for you as Billy Connelly once said.  It was fitting to go to Neil Young with 'Powderfinger' and then Johnathan Martins's amazing cover of Neil's ‘Cortez the Killer'.  The wheels came off at the end where I lost the plot and had a mirth attack about Sakis Tolis and we finished loud with My  Chemical Romance and Slipknot.    Artists featured:  Bob Dylan, ACDC, Black Spiders, Catelano, Ratt, Texas Hippie Coalition, Chickenfoot, Def Leppard, Hole, Leslie West Tribute (feat Zakk Wylde), Buckcherry, Overkill, Parkway Drive, Ghost, Thunder, Motörhead, The Dead Daisies, Sons of Liberty, Red Hot Chili Peppers, Live, Diverted Disorder, The Color Blew, Devil's Train, Badlands, Iron Allies, Skid Row, Stiff Little Fingers, The Clash, Rocket From the Tombs, Dave Hause, Warren Zevon, Johnathan Martin, Neil Young & Crazy Horse, Sakis Tolis, My Chemical Romance, Slipknot.   The Story of Rock and Roll. TSORR - Your one-stop shop for Rock

In this episode I spoke with stand-up comedian Aidan Goatley, who talked about Billy Connelly, his 2011 5-star Edinburgh show 10 Films With My Dad, his 2022 Edinburgh show Tenacious, and being Nice.   "Aidan Goatley: Tenacious" is on at the Zoo Playground 19:00 5th-28th August 2022 Aidan Goatley Instagram @goataid Aidan Goatley Twitter: @MrAidanGoatley   The Comedy Nerd Instagram @The ComedyNerd Comedy in a Nutshell Instagram @ComedyInANutshell Comedy In A Nutshell webpage  

A speech described by The New York Times in the days after delivery as 'the greatest speech since Abraham Lincoln's Gettysburg Address'. Jimmy Reid's speech was reprinted in full and praised around the world.  In this episode, Jimmy Reid biographer and Westminster MP Kenny MacAskill (member for East Lothian in Scotland since 2019) talks about this famous speech, as well as 'no bevvying' shipyard address, and Reid's life and achievements as a worker advocate, politician, union leader, and media commentator.  There are snippets of speeches from Jimmy Reid's funeral, which included eulogies from Billy Connelly and Sir Alec Ferguson. Kenny MacAskill reads a full version of the Glasgow University speech as speech of the week, because no full audio version exists.  MacAskill's biography, 'Jimmy Reid: A Scottish Political journey' is excellent.  Speakola is supported by listeners. There is a Patreon page which you can join If you want to offer Tony regular support for as little as $3/mth. Also welcome credit card donations,  which can be monthly or one off. Subscribe to our newsletter if you want a fortnightly email setting out great speeches by theme. Subscribe to Tony Wilson's 'Good one, Wilson' substack, to receive a weekly taste of his writing.  Tony's signed books are for sale at his website.  Spread the speakola word! @byTonyWilson @speakola_ on Twitter and Instagram. Email comments or ideas to tony@speakola.com See omnystudio.com/listener for privacy information.

Oh we love a good April Fool's episode, just like we love a good Muppets movie. Anyway, as a special little Muppet treat for our listeners we swashed and buckled our way through 1996's Muppet Treasure Island starring Tim Curry, Billy Connelly, and Kevin Bishop. And like...all of the Muppets. As usual. Anyway! Please enjoy this absolute nonsense. 

Jamie's old friend and H20 co-star Burgess Abernethy is back on the Patreon this week and we discover that Jamie doesn't care for pesto, Todd thinks Timothée Chalamet doesn't have the “X factor” and Burgess can't stand Wes Anderson films. We also read some diarrhoea-fixing cat food reviews and conduct a young Billy Connelly swag report. To hear the full episode head over to our Patreon https://patreon.com/whatagreatpunkShout outs @burgess_abernethySign up to our Patreon for a bonus pod each week (that's double the pod!) and other VIP stuff for just $5 a month:https://patreon.com/whatagreatpunkJoin us all in the TNSW Discord community chathttps://tnsw.co/discordWatch our Comedy Central Mockumentary series and TNSW Tonight! on YouTube:https://youtube.com/thesenewsouthwhalesFollow us on Twitch:https://twitch.tv/thesenewsouthwhalesTNSW on Spotify:https://open.spotify.com/artist/0srVTNI2U8J7vytCTprEk4?si=e9ibyNpiT2SDegTnJV_6Qg&dl_branch=1TNSW: @thesenewsouthwhalessJamie: @mossylovesyouTodd: @mrtoddandrewshttps://patreon.com/whatagreatpunkhttps://thesenewsouthwhales.comShout-outs to the Honorary Punks of the Pod:ClaireHugh FlassmanHarry WalkomMagnusIsaacOli MossElliott FlassmanJimi KendallEdmund SmithNickZacAngus LillieLachy TanBenBen NelsonDan DingusObjectors Nork

Boondock SaintsWelcome to The Guys Review, where we review media, products and experiences. **READ APPLE REVIEWS**Boondock SaintsWritten/Directed by Troy DuffySoundtrack by Troy Duffy's band, The Brood/The Boondock SaintsStarring Willem Dafoe, Sean Patrick Flanery, Norman Reedus, David Della Rocco, Billy ConnollyReleased January 21, 2000 (only 5 theaters, and for only 7 days)Budget: $6M ($9.1M in 2021)Box Office: $30,471 ($30,4287 in 2021) in 5 theatres, eventually generated $50M in domestic video sales.Gross: Technically a flop, but made it back due to cult status.Ratings:   IMDb 7.8/10 Rotten Tomates 28%Metacritic 44% Google Users 98%Plot:We open in a church, with a priest finishing the Lords prayer. Sean Patrick Flanery's Murphy and Norman Reedus' Connor MacManus are shown to be praying, with a voice over talking about vengeance, when the priest began talking about the story of Kitty Genovese, that the biggest fear is the indifference of good men. as the credits roll, we learn about the brothers, that they work at a meat plant, and prank each other. See the Boston highlights. The brothers are put in charge of a new employee, a large woman, who takes offence to Connor referencing the rule of thumb, and Connor suggests it should've been the rule of wrist. Murphy suggests its a joke, since it's St Patricks Day. She kicks Connor in the groin, Murphy punches her. We briefly see the derelict apartment they live in, flash to the pub they hang out at and introduced to David Della Rocco with an on-screen fact sheet: Boston Italian Mafia, Yakavetta Family, and a package boy/numbers runner. Doc informs everyone he's having to close the bar down, and gives some incorrect proverbs, when Ivan Checkov, Russian Crime Syndicate, soldier, says the bar will shut down now. The brothers try and defuse the situation, and Ivan threatens them. Fade to black.S:-Docs proverbs: People in glass houses sink sh-sh-ships, A penny saved is worth two in the bush, isn't it? Don't cross the road if you can't get out of the kitchen.-Very fun way of establishing characters-Troy Duffy wanted people to know they were brothers before they ever even spokeFade back in to police presence and "next day" on screen. Greenley proposes two scenerios the guys could've been killed as we're introduced to FBI Agent Paul Smecker, of the Organized Crime Task Force. Smecker ridicules him for his Huge Guy theory and Serial Crusher theory, and send him for coffee. He puts in his head phones and works out the crime scene to an opera ariea. He correctly predicts the bullets, and the detectives notice when he touches the uniformed officer. He explains how this crime was obviously one of personal connections. Cut to the hospital, Doc tells the brothers an FBI agent was looking for them, and they said they'd go talk to them anyway as it was self defence. Smecker briefs the police, Greenly makes another wrong prediction as the brothers stagger in. Smecker is about to start the interview, they speak to each other in another language and decide to tell him about the guns and money. Smecker asks about the victims bandages, and we flash back to the night before. Insults are traded and a HUGE fight ensues. They show Ivan tied to the bar and his butt set on fire. It cuts to the brothers waking up the next day and the Russians breaking in to their apartment. Ivan tells Connor he wanted to kill him, but is going to kill his brother instead. Which sends him into a rage, pulling up the toilet he is handcuffed to. As Ivan has Murphy on his kness, the toilet strikes Ivan, and Connor lands on the other Russian. Murphy takes all the valuables, and Connor to safety. Cut back to them talk to Smecker, in different languages. The police give their statement they're not charging the MacManus brothers, as they go back in Rocco comes with clothes, that they're glad to receive.S:-Notice how put together Smecker is, 3 piece suit, coat,-Why is it ONLY Smecker? I thought most FBI agents are partnered.-This is the ONLY scene he listens to opera music on scene.-Love Greenly and how bad it is.-The toilet is obviously fake, the whole bottom is cut out so he can see where he's carrying it. Also, if he jumped from the 5th floor... even onto someone, you're breaking a femur at least.-Director told Sean Patrick Flanery not to help Norman Reedus help pick him up.-At the press conference, Smecker is just in the 3 piece suit nowThe brothers, while asleep in the prison, have a shared dream, cutting in the priest from earlier (the indifference of good men) and Billy Connollys voice, "Whosoever shed man's blood, by man shall his blood be shed. For in the image of God made He man." They wake up and give each other knowing glances. When they walk out, all the cops are excited to see them. Connor returns a call the Russian pager received and got the name of a Hotel. Rocco goes into an office, where Ron Jeremy's Vincenzo Lapazzi, an underboss for the Yakavetta family, teases and taunts him. Sitting across the table is Giuseppi Yakavetta, "Pappa Joe," Mafia Don of the Yakavetta family, looking comatose. He comes alive, and tells Rocco to tell him a joke... Which is WILDLY inappropriate... Connor and Murphy are in some sort of armary and begin going through and picking out their weapons, and arguing about whether or not they need rope. The brothers are shown walking the streets of Boston, then in an elevator. Connor asks Murphy if he's nervous, when he says a bit... and they start preparing, fade to black.S:-Funny Man's joke... wow... Totally forgot about that.-Wall of armory: "While the wicket stand confounded, call me, with thy saints surrounded"-Love the 50's style dreamy music in the armory Phone rings and we see Smecker in bed with a guy who keeps trying to cuddle with him as he talks. Smecker doesn't cuddle... We cut to him walking in a room with a BUNCH of dead bodies. Greenly misses Smeckers question about how many bodies, and questions the other detectives about motive. There is some exposition about the reasoning they used pennies over the eyes, how and why they shot the fat guy in the manner in which they did. As Smecker wraps up, talking about 8 well aimed shots and has to be two people. Flash back to the brothers finishing a prayer, they start crawling through the air vents and we see the previously seen dead fat guy, Yuri Petrova: Russian Crime Syndicate Boss, in a meeting with the other victims. As the brothers crawl, and start to realize they're lost, Yuri is railing on the other guys in the room. The brothers start to argue and fight, when the air vent collapses under them, into the room, they're dangling upside down, and shoot all the guys in the room, saving the fat man for last, and what is arguably the most famous part of the movie, their family prayer: PLAY MUSIC. They then go around, crossing arms, and laying pennies on eyes, killing those who aren't already dead. Cut back to Smecker, realizing the killers aren't professionals. Back to the brothers talking about how easy it was, and how good they are. As they check the money, the door buzzes and they see its Rocco... and they decide to fuck with him. They scare him, and realize his boss may have sent him on a suicide mission. They revel themselves, and Rocco can't believe it. Flash back to Smecker and talking about how these are super high up crime bosses, and that it could be the beginning of an international gang war.S:-Willim Dafoes river dance, also notice, an unbuttoned two button suit, and coat gets removed...-"There are 9 bodies, and 6 shots, what were you going to do, laugh the last two to death, funny man?!"-The upside down shoot out is the most famous scene from this whole movie... It's awesome, but Matrix did it a year before in 1999.-The word Fuck is used 246 times in the movie, MacManus brothers and Rocco sitting around talking about why they started doing what they're doing, lots of exposition. Into a montage of them drinking, which ends with Rocco slamming his hand down, and killing the cat. The next day, Connor and Rocco go to have a smoke, Connor suggests he was set up, Rocco doesn't like it. Murphy joins, and agrees with Connor, Rocco gets pissed and leaves. They're shown nervously waiting by the phone when Rocco calls, has a strange conversation, and some women arrive at Roccos apartment. Everything is quiet, when Rocco comes busting in and saying they have to go, realizing he was set up. Flash back to Roccos original call on his side. He cooly walks into Lakeview Luch, he talks to two guys who confirm he was setup. Flash back to them leaving the apartment, Rocco asks them to stop in front of the Sin Bin, he wants to kill Lapazzi, when they realize they don't have a system, that the first two fell in their laps. Rocco wants to be that guy, since he knows everyones business. Cuts to night and we see Lapzzi showing up to the strip club. They all three go in. They tease Rocco about his mask, and charge in. Fade to black then Smecker coming through the same door. It cuts back and forth, from the shooting and Smecker trying to figure out what happened. Lapazzi was the obvious mark, but why the two extra victims. Greenly finally makes a contribution, they're bad guys, now they're dead bad guys. Immediately messes it up by telling him about the "not related" shooting downtown... As Smecker is leaving, he realizes the shooter crossed his arms to fire, Rocco exclaims, "Wyatt Fuckin Erp!" and Smecker says, "looks like we got us a cowboy.
" As they walk out, Rocco asks to learn the prayer, when they tell him it's a family prayer, from their fathers, fathers, father.S:-Troy Duffy wrote this because he saw a drug dealer taking money off a corpse across the hall of his apartment.-Love the music during Roccos shooting scene-The two other victims were from deleted scenes.-"good shooting, shitty shooting" In the Lakeview crime-scene, Smecker and the detectives work through the crime. Don of the Yakavetta goes to see an old boss, and we're introduced to "Il Duce" or the Duke. Its made very clear how dangerous he is. We then see he makes parole. Rocco tells about the worst guy he's ever met, and we follow him as he kills a whole family. They plan on killing him, and the rest at their weekly poker game. Cut to Smecker and the detectives at the aftermath. Flash back to the guys getting ready, with Smecker actually with them as the hit occurs. Through the garage, kidnapping the wife, and in to the poker game. Connor holds Murphy back, and wanted to let Rocco do the kill himself. Murphy rolls him a pool ball to help him out. Smecker has totally lost it, and explains what they encountered, incorrectly, outside the house. IT WAS A FIREFIGHT!! Smecker is conducting during the shooting, Il Duce hits Roccos finger, Connor in the leg, and takes a bullet to his arm/shoulder. Greenly correctly predicts one guy with six guns. When Smecker realizes they've used ammonia, he breaks down, to ultimately find Roccos finger, which he takes. The guys are then shown cauterize their wounds. Rocco wants to kill Smecker, but he isn't to be touched, since he's a good man. Smecker runs the fingerprint, and recalls seeing him bringing the MacManus brothers clothes early on. The brothers go to chuch and Rocco sees Smecker stumble out onto the street and follows him into the church. Rocco goes into the confessional with the priest, Connor pulls Roccos head through the screen and will kill him if he hurts Smecker... Smecker has an ethical dilemma. He is told "the laws of God are higher than the laws of man"...and sends Smecker on his path.S:-Does ammonia actually make blood samples unusable? The guys call Smecker and give him a description of Il Duce. The old crime boss tells Smecker Yakavetta has all the guns at his house, which we cut to, and they've caught them trying to sneak in the basement. They've obviously been beat. Papa Joe kills Rocco. The brothers are pissed, Papa Joe says he's going to take care of Il Duce, Connor is showing to be breaking Murphys wrist to slip out of the cuffs. Then Smecker arrives... Dressed in drag. Smeckers wig falls off and he's forced to shoot him... After he does, he says, "too far... too far" but is committed. "It's on now." He finds on of the goons throat slit, and is hit from behind by Il Duce. As he sneaks up on the brothers, he hears their prayer, and finishes it, laying his hands on them. 3 Months Later Yakavetta is on trial, and we're shown how Greenly and Smecker and working with the MacManus family now. They bust in the court room, no masks, and Il Duce gives an epic monologue and marks their introduction to the world. They state their purpose, not to protect the innocent, but to kill the evil, and corruption. With Papa Joe on his knees, they say the prayer and kill him. In an apartment, Connor asks how far they're going to take it, and Il Duce responds by asking do they have what it takes to take it as far as its needed. fade out, then back in to the news caster, the film ends with people giving their opinion of "The Saints," as they've been dubbed.S:-When they shoot off Roccos finger, and Sean Patrick Flanery gets splattered, I want to know who got to pull that one.-The director would agitate the actors to get them the correct level of pissed off, not sure how.-There was TOO much tongue in that kiss...-Never really noticed how fake the tats are, not black, but blue.-Supposedly had to give Billy Connelly a bigger cigar because he couldn't stop smiling wearing the gun vest, and he was having so much fun. Webpage: https://theguysreview.simplecast.com/EM: theguysreviewpod@gmail.comIG: @TheGuysReviewPodTwitter: @The_GuysReviewFB: https://facebook.com/TheGuysReviewPod/

Ray and Laura spoke to Grainne Read who helped rescue a baby goat in Sandycove, Ray reckons Billy Connelly would be the perfect fit for Love Island and the 745 Secret Sound is set to rise to €6000.

In my last podcast about George Floyd and Individual Rights I called out the “stupid law” that triggered the terrible killing of Eric Garner.  Pete was fired up by my comment and felt a need to share his own point of view.  We really break down what happen with Eric Garner, the licensing and permit issues that the NYC government was enforcing and the greater issue of sin taxes on cigarettes to fund healthcare for smokers with lung issues.  We also discuss the COVID mask issue and how that lines up with rights, empathy and being a good neighbor.  Of course, we also talked Corvettes.  You can’t not talk Corvettes when Pete is on the podcast.    We also discuss a range of other people and places including Indian Reservations, NBA, I Can’t Breathe, New York City, New Jersey, cancer, facemasks, Target, gas tax, marijuana, PTSD, epilepsy, social distancing, inalienable rights, Cat Stevens, Tea for the Tillerman, California Missions, San Francisco, Billy Connelly, Oklahoma City Memorial, Timothy McVeigh, Netflix, Waco, David Koresh, Longmire, US Grant, History Channel, Butte, submarines, candy cigarettes, vaping, Carmel.   #JohnRileyProject #BLM #BlackLivesMatter #COVID #ICantBreathe   JRP0137     Our Sponsors:   PowayStore.com:  https://powaystore.com/   Happiness76.com:  https://happiness76.com/   Trigger Energy: https://triggerenergy.com/     Pete Neild Info:   Corvette C7 Calypso:  https://www.calypso-c74pjn.com/     John Riley Project Info:   Bookings? Inquiries? Contact me at https://johnrileyproject.com/   Sponsorship Inquiries: https://johnrileyproject.com/sponsorship/   YouTube Channel: https://www.youtube.com/channel/UCJJSzeIW2A-AeT7gwonglMA   Facebook: https://www.facebook.com/johnrileyproject/   Twitter: https://twitter.com/JohnRileyPoway   Instagram: https://www.instagram.com/johnrileypoway/   iTunes: https://podcasts.apple.com/us/podcast/john-riley-project-podcast/id1435944995?mt=2   Spotify: https://open.spotify.com/show/3llrMItpbx9JRa08UTrswA   Stitcher: https://www.stitcher.com/podcast/john-riley-project   Google Podcasts: https://podcasts.google.com/?feed=aHR0cHM6Ly9qb2hucmlsZXlwcm9qZWN0LmNvbS9mZWVkLw   Tune In: https://tunein.com/podcasts/Arts--Culture-Podcasts/John-Riley-Project-Podcast-p1154415/   Listen Notes: https://www.listennotes.com/podcasts/john-riley-project-john-riley-2l4rEIo1RJM/   Music: https://www.purple-planet.com  

A Heartwarmingly wholesome tale of a boy and his....zombie?? FIDO, directed by ANDREW CURRIE, takes to a picture perfect pop art white picket fence and apple pie post-zombie apocalypse 1950's style world where the undead serve as harmless domestic servants, nannies and Mother's Little Helpers. When little Timmy's family adopt Fido to be their house ghoul, hearty laughs and wholesome good times are sure to follow...as well as total societal upheaval and just a teeny tiny zombie uprising or two. BUt there's a lot more to FIDO than first meets the eye. Helping me gnaw through the delicious skin of the movie's shiny veneer and devour the hot, meaty and surprisingly scathing subtextextual innards are DAN COHEN and CHRYSTEN PEDDIE from (https://killingyourdarlings.libsyn.com/) . FIDO stars BILLY CONNELLY, CARRIE-ANN MOSS, DYLAN BAKER and KESUN LODER. *** Please donate to BACKPACKS FOR THE STREETS (https://www.backpacksforthestreet.org) at www.backpacksforthestreet.org See Jeffrey & Jason in action on NBC News at https://www.nbcnewyork.com/on-air/as-seen-on/backpack-for-the-streets-volunteers-handout-essentials-for-nyc-homeless/2417988/ (https://www.nbcnewyork.com/on-air/as-seen-on/backpack-for-the-streets-volunteers-handout-essentials-for-nyc-homeless/2417988/) *** Check out Chrysten's reading /drinking game of MUCH ADO ABOUT NOTHING on Friday May 22 at 7pm at https://www.facebook.com/events/614125976123013/?active_tab=about (https://www.facebook.com/events/614125976123013/?active_tab=about) *** SCREAMQUEENZ SATURDAY DOUBLE FEATURE: FIDO and SHOCK VALUE 3pm Eastern on KAST bit.ly/sqsocial (https://bit.ly/sqsocial)

Nashy catches up with Artist and Musician Gerard M Burns.Gerard takes us behind the scenes on some of his most famous paintings including Doddie Weir, Billy Connelly and Ewan McGregor. He also shares which famous Scotsman he would love to paint!Hope you enjoy!This Podcast is brought to you by ACE Property - Management and Sales - Edinburgh.Make sure you check out www.getafterit.uk and join for FREE to get access to Discount Codes and Offers from awesome Brands and Businesses!www.getafterit.ukInsta - get_after_it_ukFollow Nashy...Twitter - @GetAfterItNashyInstagram - @getafterit_nashyFacebook - GET AFTER IT

EPISODE 33: SUPERMAN'S CHRISTMAS ADVENTURE The Last Sons bring the holiday cheer with a Christmas special to end the year! *DISCLAIMER* If you are a big fan of Crisis be warned!! We don't go easy on it! Connor and Rey look at a Golden Age Christmas based comic as their main review, but also chat about the latest Bendis offering, Superman #18, plus their thoughts on the CW's Crisis on Infinite Earths! SYNOPSIS: (Courtesy of Wiki) After being assigned to write a Christmas story for the Daily Planet, Clark Kent and Lois Lane purvey Metropolis' department stores. They meet young Billy Connelly, a poor young boy who is unable to afford anything for Christmas, and take pity on him. Lois and Clark return to Perry White's office, and suggest a Daily Planet-sponsored Toy Drive to help out needy children. Clark also sees a rich boy, James Daniels, who has many toys but is spoilt and tired of them all, throwing a tantrum when he receives childish playthings, demanding greater gifts instead. That night, as Superman, Clark takes young James on a tour of the city showing him less fortunate children, and James realizes how much he has, and how little others do, having a Christmas revelation. At the North Pole, two elderly men who hate Christmas, Doctor Grouch and Mister Meaney attempt to convince Santa Claus to end his philanthropy, and instead join them in a business venture. Although the Elves kick them out, Grouch and Meaney decide to take their campaign elsewhere, starting with shutting down the Toy Drive at the Daily Planet. They knock the employees out with gas, and then set the presents on fire. Luckily, immediately after they leave, Clark Kent changes into Superman and puts the fires out. Grouch and Meaney go back to Santa's workshop, and begin destroying all of the toys with axes. When they find Lois Lane sneaking around, they tie her to a rocket and light it, intending to shoot her to the heavens. In the workshop they are rebuffed again by a swarm of Toy Soldiers Santa uses as a security system. Superman rescues Lois. Meaney and Grouch instead decide to kidnap Santa's Reindeer. Santa calls on Superman to help him rescue the Reindeer, and although he is successful, at the last second Meaney jumps out and gasses the Reindeer too, making them unable to work on Christmas. Superman is forced to fly Santa's sleigh around himself! At the end of the night, Superman and Santa go to Mr. Grouch's house, where Grouch once more has Lois Lane captive again. Despite their evil that night, Santa decides to forgive the two, and gives them both presents anyway. Grouch and Meaney have a complete change of heart, and gain great respect for Santa, deciding to like Christmas after all. On the way home, Superman witnesses James Daniels carrying loads of presents with his Butler, intending to give them to all of the unfortunate children of Metropolis. Superman wishes everyone a Merry Christmas, and a Happy New Year. SHOW NOTES: Superman's Christmas Adventure (1940) Superman #18 Red Son Trailer Chris Reeve Superman Cape Auction Byrne Omnibus cancelled Powerless Superman/Jimmy issue SEND IN YOUR FEEDBACK OR THOUGHTS ON - email : lskpodcast@gmail.com Twitter: @LSKPodcast FB Page: facebook.com/lskpodcast Proud Member of The Collective The music for this episode contains excerpts from various songs and is copyrighted by Styzmask. The music used on Last Sons of Krypton - A Superman Podcast is licensed under an Attribution License;

Tall tales and Wee Stories - Billy ConnellyIn December 2018, after fifty years of belly-laughs, energy and outrage, Billy Connolly announced his retirement from live stand-up comedy. It had been an extraordinary career.Tall Tales and Wee Stories brings together the very best of Billy's storytelling for the first time and includes his most famous routines including, The Last Supper, Jojoba Shampoo, Incontinence Pants and Shouting at Wildebeest. With an introduction and original illustrations by Billy throughout, it is an inspirational, energetic and riotously funny read, and a fitting celebration of our greatest ever comedian.Exposure - Robert BilottThe story that inspired the major motion picture Dark Waters, starring Mark Ruffalo as Robert Bilott.In 1998, Rob Bilott began a legal battle against DuPont that would consume the next twenty years of his life, uncovering the worst case of environmental contamination in modern history and a corporate cover-up that put the health of hundreds of thousands of people at risk. Representing a single farmer who was convinced the creek on his property had been poisoned by runoff from a nearby DuPont landfill, Rob ultimately discovers the truth about PFAS—unregulated, toxic chemicals used in the manufacturing of Teflon and a host of other household goods. DuPont’s own scientists had issued internal warnings for years about the harmful effects of PFAS on human health, but the company continued to allow these chemicals to leach into public drinking water. Until Rob forced them to face the consequences.Exposure is an unforgettable legal drama about malice and manipulation, the failings of environmental regulation, and one lawyer’s quest to expose the truth about this previously unknown—and still unregulated—chemical that presents one of the greatest human health crises of the 21st century.LISTEN TO AUDIO HERE 

Jonesy and Amanda are feeling a little dusty today after celebrating their win at the ACRA awards over the weekend. They brought home the Top Gong. Legendary comedian Billy Connelly calls the hotline for a chat, and the tribal drum was beating for"My bird the A hole."See omnystudio.com/listener for privacy information.

Jeremy is joined again by Anthony Malone to mull over the 1985 satirical comedy Water starring Michael Caine, Leonard Rossiter, Brenda Vaccaro, Valerine Perrine and Billy Connelly, as part of a discussion that covers such topics as the BBC Shakespeare, comic actor Salma Hayek, Bernard and the Genie and knockabout prankster George Harrison.

PLUS: Michael B. Jordan for Coach, Ewan MacGregor as Halston AND THE MASKED SINGER is a hit!

.I had to laugh at a news item from Bolton....they were asking people in the street how they felt about Brexit....they virtually all said they had completely lost interest and couldn't care less anymore ....which just about sums it all up....I can't believe idiots like Ambrose Mogg,Boris Johnson,Corbyn etc etc are actually running the country....and when they appear on the news and you switch channels there they are again....you can't escape....what has always amazed me is how these buffoons get there in the first place....but then when you see 700,000 (allegedly) people marching through the streets because the democratic vote didn't go their way I suppose that explains it all.....and it's obviously all about money and greed.........................we have just had the "Children In Need" fundraising on TV......they have raised one billion pounds over the years......which is what Alan Sugar is worth....with all the billionaires and millionaires in this country.....not to mention the royalty....why do we have children in need?? ...There has been quite a bit of publicity about youngsters being seriously affected by bullying on the internet....which doesn't surprise me as they are never off their mobiles.....those of us who are of a certain age find this somewhat hard to comprehend....why not switch the phone off?.....they had some up and coming young pop star who was deeply upset because someone tweeted that she was rubbish.....if you take any notice of criticism in the music game you may as well pack in....you have to understand that when someone puts an insulting comment on to the internet it is their big moment...because they have nothing else going for them in their sad little lives....simple as that........if I took any notice of criticism over my music career I would now be sitting in the corner of a darkened room....but my answer was always the same....basically two words. ...On the showbiz front....the BBC are still trying to get more viewers by reporting "goings on" with he dancers and celebs....probably making it all up....however I am a fan of the programme and I have a fiver on Ashley Roberts....I must say the ladies on the programme make an old man very happy....I often wonder what how funny it would have been had Benny Hill been on it........and now we have "I'm a celebrity get me out of here"......I use the word celebrity loosely.....the fact that they are giving Harry Rednap 500 grand....he is quite entertaining but not 500 grandsworth?..... and Noel Edmunds is due to go on it.....600 grand ....says it all.....I have watched the first few editions and I must admit i quite enjoy it....and Holly Willoughby is a pleasant change from Ant McPartlin....however we are still stuck with Dec.....he's a celebrity ...they should get HIM out of there. ...I recently watched a programme featuring an audience with Billy Connelly from about 40 years ago....I must say he was very funny back then....I do like observational comedy...and it took me back to my playing days and when we were booked to play at weddings...which were all EXACTLY the same....the setting up the gear with ids sliding up and down the dance floor....grandma who never goes out sitting at a table with her coat on.....the bloke in the middle of the dance floor trying to get everyone up which doesn't happen until the booze kicks in....when they all get up and dance (for the first time in 20 odd years).....the night being rounded off by Uncle Harry who is standing at a table singing Blue Spanish Eyes (consisting of one note all the way through) with his admirers loving every second.....and he always goes down better than the band who have just done 4 hours.....oh the joy of showbiz....and do I miss it?........NO. ...The song this week is about a place you might have heard of.....Benidorm....ring any bells?......it was written from memory as I haven't been to Spain for a long time....in fact I spend my spare time in beautiful places like the Lakes and Snowdonia....where you can feed your soul with the scenery....so I leave the delays and the hustle and bustle of airports to others.......Buenos Dias Benidorm.

.I had to laugh at a news item from Bolton....they were asking people in the street how they felt about Brexit....they virtually all said they had completely lost interest and couldn't care less anymore ....which just about sums it all up....I can't believe idiots like Ambrose Mogg,Boris Johnson,Corbyn etc etc are actually running the country....and when they appear on the news and you switch channels there they are again....you can't escape....what has always amazed me is how these buffoons get there in the first place....but then when you see 700,000 (allegedly) people marching through the streets because the democratic vote didn't go their way I suppose that explains it all.....and it's obviously all about money and greed.........................we have just had the "Children In Need" fundraising on TV......they have raised one billion pounds over the years......which is what Alan Sugar is worth....with all the billionaires and millionaires in this country.....not to mention the royalty....why do we have children in need?? ...There has been quite a bit of publicity about youngsters being seriously affected by bullying on the internet....which doesn't surprise me as they are never off their mobiles.....those of us who are of a certain age find this somewhat hard to comprehend....why not switch the phone off?.....they had some up and coming young pop star who was deeply upset because someone tweeted that she was rubbish.....if you take any notice of criticism in the music game you may as well pack in....you have to understand that when someone puts an insulting comment on to the internet it is their big moment...because they have nothing else going for them in their sad little lives....simple as that........if I took any notice of criticism over my music career I would now be sitting in the corner of a darkened room....but my answer was always the same....basically two words. ...On the showbiz front....the BBC are still trying to get more viewers by reporting "goings on" with he dancers and celebs....probably making it all up....however I am a fan of the programme and I have a fiver on Ashley Roberts....I must say the ladies on the programme make an old man very happy....I often wonder what how funny it would have been had Benny Hill been on it........and now we have "I'm a celebrity get me out of here"......I use the word celebrity loosely.....the fact that they are giving Harry Rednap 500 grand....he is quite entertaining but not 500 grandsworth?..... and Noel Edmunds is due to go on it.....600 grand ....says it all.....I have watched the first few editions and I must admit i quite enjoy it....and Holly Willoughby is a pleasant change from Ant McPartlin....however we are still stuck with Dec.....he's a celebrity ...they should get HIM out of there. ...I recently watched a programme featuring an audience with Billy Connelly from about 40 years ago....I must say he was very funny back then....I do like observational comedy...and it took me back to my playing days and when we were booked to play at weddings...which were all EXACTLY the same....the setting up the gear with ids sliding up and down the dance floor....grandma who never goes out sitting at a table with her coat on.....the bloke in the middle of the dance floor trying to get everyone up which doesn't happen until the booze kicks in....when they all get up and dance (for the first time in 20 odd years).....the night being rounded off by Uncle Harry who is standing at a table singing Blue Spanish Eyes (consisting of one note all the way through) with his admirers loving every second.....and he always goes down better than the band who have just done 4 hours.....oh the joy of showbiz....and do I miss it?........NO. ...The song this week is about a place you might have heard of.....Benidorm....ring any bells?......it was written from memory as I haven't been to Spain for a long time....in fact I spend my spare time in beautiful places like the Lakes and Snowdonia....where you can feed your soul with the scenery....so I leave the delays and the hustle and bustle of airports to others.......Buenos Dias Benidorm.

On this week's episode, the gang chats about the dull as dirt—and totally unnecessary—sequel/continuation, The X-Files: I Want to Believe! Why does the film allow a convicted sex offender to dress down Scully? Why doesn't Mulder look more like Ted Kaczynski when in hiding? And how dare they put so little Skinner in this! PLUS: Wouldn't this movie be better if it ended with werewolves? The X-Files: I Want to Believe stars David Duchovny, Gillian Anderson, Billy Connelly, Amanda Peet, Alvin 'Xzibit' Joiner, Billy Connolly, Callum Keith Rennie, and Mitch Pileggi; directed by Chris Carter.

Shaun Howes is a comedian and entrepreneur from Wellington. He’s performed sold out seasons at the 2011 and 2015 New Zealand International Comedy Festivals and internationally in Australia, Hong Kong and the UK. At 23 years old he became the youngest Regional Manager for The CD & DVD Store, helped labels sign artists and was even a judge (three times) at the New Zealand Music Awards. We chat about some of the recent changes in the music industry and have a great conversation about the craft of performing both comedy and music. We also broach the question; how do you reconcile the art vs the crime when a hero is revealed to be guilty of a horrendous act? This is a fun one. Enjoy!

Please turn off your cellphones and join the fellas as they head up to Boston for mayhem and carnage in an old Irish neighborhood. For our 14th commentary, we grab some rope and drop down to 1999 for this cult classic starring Norman Reedus, Sean Patrick Flannery, Willem Defoe, & Billy Connelly. Listen along as Fitz watches this flick for the very 1st time and gets engrossed, Doom does all kinds of crappy Irish accents and talks his traditions with this movie. Grab some corn and watch along, gang!

Boondock Saints is the cult classic that we are recasting this week. While we are going to pretend that the sequel didn't exist (and apparently a third installment is coming soon), the original is definitely one of our favorite action films. Starring a relatively unknown pair in Norman Reedus and Sean Patrick Flanery, as well as great performances by Willem Dafoe and Billy Connelly, this movie feels like an independent film, but it's actually far from the case. This began as a movie that was highly coveted by studios and was having some serious money thrown at it, which makes sense because the script is fantastic. However, it feels like everything was working against this movie, starting with the creator.

Continuing Japan Month, Steve & Izzy discuss the 2003 masterpiece "The Last Samurai" starring Tom Cruise, Ken Watanabe, Tom Goldwyn, Billy Connelly, William Atherton & more in a tale of 19th century feudal Japan. They also try some tasty beverages from M. Special & Barebottle Brewing. So kick back, grab some brews, bow your head in shame & enjoy!

Stephen Metcalfe talks about his new book, The Practical Navigator. We discuss his protagonist's return to surfing and raising a son on the Autism spectrum. We also talk about the rewrites he did on Pretty Woman when he was a screenwriter and the potential casting of Al Pacino. Jeffrey Masters interviews. Click Here to Download the Podcast on iTunes Bio: Stephen Metcalfe is a writer, a director and a teacher. Screen credits include HALF A LIFETIME, COUSINS (with Isabella Rossellini and Ted Danson), JACKNIFE (with Robert De Niro and Ed Harris), ROOMMATES, EL ABUELO and BEAUTIFUL JOE (with Billy Connelly and Sharon Stone). [...] The post Stephen Metcalfe | The Practical Navigator | Author Interview appeared first on Book Circle Online.

Stephen Metcalfe talks about his new book, The Practical Navigator. We discuss his protagonist's return to surfing and raising a son on the Autism spectrum. We also talk about the rewrites he did on Pretty Woman when he was a screenwriter and the potential casting of Al Pacino. Jeffrey Masters interviews. Click Here to Download the Podcast on iTunes Bio: Stephen Metcalfe is a writer, a director and a teacher. Screen credits include HALF A LIFETIME, COUSINS (with Isabella Rossellini and Ted Danson), JACKNIFE (with Robert De Niro and Ed Harris), ROOMMATES, EL ABUELO and BEAUTIFUL JOE (with Billy Connelly and Sharon Stone). [...]

Rock 'N' Roll, NFL Playoffs, Rex Ryan, LOST, Billy Connelly, college football, and more on this tremendous episode of the Davey Mac Sports Program!

(NSFW!) Meet Joss' TV SHIELD Agents. Cap's girls. Godzilla. True Blood gets Rutger. Apes sequel gets director. Revolution. Marvel animation. Music lesson. Catholic film critic. Billy Connelly hates you if you read The Hobbit. We hate hardcore fans. Prof X…he dead. Your letters for us. Prometheus. E.T. Dial M in 3D?! Spy Hunter. Of Orcs … Continue reading "0229 – New Episode has forbidden hot drinks"

(NSFW!) Meet Joss' TV SHIELD Agents. Cap's girls. Godzilla. True Blood gets Rutger. Apes sequel gets director. Revolution. Marvel animation. Music lesson. Catholic film critic. Billy Connelly hates you if you read The Hobbit. We hate hardcore fans. Prof X…he dead. Your letters for us. Prometheus. E.T. Dial M in 3D?! Spy Hunter. Of Orcs … Continue reading "0229 – New Episode has forbidden hot drinks"

An interview with comedian, actor and musician Billy Connelly who comes from Scotland. FOR NOTES, LINKS AND TRANSCRIPT DETAILS, PLEASE CLICK HERE http://teacherluke.wordpress.com/2011/10/12/billy-connolly-interview-more-scottish-accent/