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6 episodes with Blood Diner
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2 episodes with Blood Diner
2 episodes with Blood Diner
2 episodes with Blood Diner
2 episodes with Blood Diner
The "WR? Podcast" returns! It's a new Friday and a brand new episode! This week's "open forum" talk segment covers some NFL talk (with Russell Wilson heading to New York) and some pro wrestling news (AEW breakdown). Then, we're back with another "Double Feature" of one of our favorite original segments. "Fridays At Midnight" returns! This week we took a look at "Blood Diner" and "Miracle Mile". As we do, take a trip to our lagoon and the infamous "Waterfall of Goofs"! Please enjoy responsibly!PRESENTED by CHURCHILL PICTURESTimestamps:0:00:00 - NFL Free Agency News + AEW Breakdown0:34:37 - Fridays At Midnight Part 1: Blood Diner (1987)0:50:09 - Fridays At Midnight Part 2: Miracle Mile (1988)1:05:47 - Goofs R Goofs
We are starting off Female Horror Directors Month with Jackie Kongs, splatstick masterpice, Blood Diner (1987). Funnier than Troma, with a more satirical bite, this is a 10/10 recommend from us. Rae "irish's" she never watched Invoked (2015) for this weeks Tubi or Not TubiUp Next: Revenge (2017)What We're WatchingHot FuzzSilent Night (2012)#horror #horrormovies #horrormoviereviews #femalehorrordirectors #tubiornottubiWhere to Find us:InstagramThreadsFacebookYoutubeTikTokLetterboxdboozeboobsandbloodpodcast@gmail.comb3horrorpodcast.combluesky: @b3podcast.bsky.social
In this week's episode, we're discussing an often-requested 1987 horror comedy terrible masterpiece: "Blood Diner." Special topics for your consideration include: jokes that haven't aged well, upsetting lips, the pros and cons of actually just eating people, the absolute horror of topless aerobics, and...brothers? Are they brothers?? The 1980s was a spectacular time for bananas horror movies, but my favorite is and will always be "Chopping Mall." It's Episode 174. The regular lineup of links! You can support us at patreon.com/werewolfambulance and listen to a ton of action movie episodes. This month we watched "Crank 2," so you know, I'm holding on by a thread here. leave us a message at 412-407-7025 hang out with some cool listeners at https://discord.gg/DutFjx3cBD buy merch at www.teepublic.com/user/werewolfambulance the best place to reach us is at werewolfambulance@gmail.com we're on Reddit at r/werewolfambulance sorta on Twitter @werebulance sorta on Instagram @werewolfambulance www.werewolfambulance.com if you feel you really must lodge a complaint with us, please do it on Facebook at facebook.com/werewolfambulance because we are probably not gonna see that, ever. If you liked this, please leave us a review on Apple Podcasts or wherever you listen! It helps others find us and allows us to continue to grow. Intro song is by Alex Van Luvie Outro song is A. Wallis- "EMT" Seriously, we have the best listeners, hands down.
Friend and frequent Dark Mark Show guest Carl Crew (he was on the 2nd show which is now officially lost media) passed away yesterday. In tribute to this one of a kind person we are replaying his appearance in 2019 with legendary comedian Joey Gaynor Mark and Hannah welcomed cult horror movie icon and the P.T. Barnum of Burbank Blvd Carl Crew and legendary stand up comedian Joey Gaynor to the lighter side of the dark side...and did they both have some great stories to tell. Carl talked about how he got the role in Blood Diner and how he made The Secret Life of Jeffrey Dahmer...the only movie about him that Dahmer actually saw. He talked about the history of his club the California Institute of Abnormal Arts which features 3 corpses on display and is now being converted to Chinatown East and how his family are the utmost experts on Bigfoot Joey talked about starting out with Garry Shandling and how they did bar gigs together, being inspired by the fearlessness of Richard Pryor and Paul Mooney, what it was like to party with Sam Kinison and seeing the fabled Atuk curse firsthand, what it was like to wrestle women with Andy Kaufman and finishes the show with his Sinatra style version of the Addams Family Song that was featured on Elvira's Haunted Hits.
Friend and frequent guest Carl Crew passed away yesterday. In tribute we are replaying his appearance from 2021 with legendary comedian Joey Gaynor Carl Crew the star of Blood Diner and The Secret Life of Jeffrey Dahmer and comedy legend Joey Gaynor joined Mark and Nicole just in time for Halloween Carl talked about his club California Institute of Abnormal Arts, which is now displaying an exact replica of The Elephant Man's bones in addition to 3 embalmed dead bodies including an amazingly preserved over 100 year old dead clown, and has been the home of Bigfoot wrestling. Carl comes from a family of Bigfoot experts and he has an interesting theory of what BIgfoot might really be and he gave a preview of his unlikely upcoming Jeffrey Dahmer movie sequel and so much more Joey talked about how he became friends with Richard Pryor, after being a fan, which led to him opening for Pryor when he played in LA, he talked about paranormal activity he witness at The Comedy Store in Hollywood and Westwood, which landed him on Unsolved Mysteries, his experiences working at Famous Monsters magazine and it's eccentric owner J. Forest Ackerman, how he is an unlikely star in Greece he time he motorboated Brigitte Nielsen (!) and so much more
Surreal the Mc return to talk about one of his favorites, the Cult Classic, Blood Diner. hear our thoughts on this bonkers movie as we go through start to finish on the journey of Sheetar! Links To Mention: Zachariah Hennings (@zachsurreal) Facebook Facebook https://www.facebook.com/moosesmonstermashpod https://electronicmediacollective.com/moose/ https://twitter.com/MooseMediainc https://www.instagram.com/paul_moose_harder/ https://www.youtube.com/channel/UCKQJq7_ZnFIjg0vcc5R7F7w
Blood Diner (1987) movie review for horror and tea fans alike! For our tea sippers, brew a cup of tea, sit back, relax and we hope you enjoy the review! We would be honored if you liked and subscribed! Please comment on what you thought of the movie! If you'd like to recommend a movie, game or tea and keep up to date with our content, all of our platforms are listed below:
The DFM quartet dives headfirst into the blood-buffet that is this unique 1987 Jackie Kong-directed cult classic. We discuss the film's gruesomely fun kills, over-the-top acting, energetic yet chaotic atmosphere & its punk rock elements. Featuring the peculiar mythology of Sheetar, we touch on the lore building that makes this one such a zany viewing experience. As the chat wraps up, we each rate the film, and suggest some ideal double feature pairings.
“I'm so horny I could fuck a cow.” Things are going from strange to downright bizarre on this week's episode of The Blind Rage Podcast, as we take a look at Jackie Kong's 1987 horror-comedy BLOOD DINER! As children, brothers Michael and George witness the brutal death of their doting Uncle Anwar. 20 years later, they're running a popular Hollywood diner, which serves exclusively vegetarian cuisine. Or so their clientele believes. Using one of Anwar's many absurd rituals, Michael and George are able to resurrect their favorite uncle, only now, he's a talking brain in a jar. With eyeballs. Following Anwar's instructions to the letter, the brothers begin butchering and dismembering the city's most immoral women, using their body parts to bring to life the ancient Egyptian goddess Shetar. Following the blood trail, some local detectives are on the case. Unfortunately for Hollywood's dwindling population, these guys are closer to Inspector Gadget than they are Hercule Poirot.
For their first movie breakdown, AK and Laura dive into the first movie they bonded over almost 15 years ago: The 1987 cult classic, Blood Diner!Show notes -YouTube Channel - Horror Tour Guide/Women of Color in Horror interview by Cindy SanabriaBloody Disgusting Article - Written by: Meagan NavarroIMDBWikipedia Follow us:https://www.instagram.com/chainsawgirlspodhttps://www.tiktok.com/@chainsawgirlspodhttps://www.youtube.com/@ChainsawGirlsPod Hosted on Acast. See acast.com/privacy for more information.
New interview with returning guest actor/ filmmaker Michael T. Flynn, McKay's store, the origin and current state of Digital Media. Recent watches include, Excision, Blood Diner, All Jacked Up and Full of Worms, Sweatshop, Body Melt, etc...
Fresh off the heels of a SO BAD ITS GOOD horror movie from last week! We delve back into some weirder waters of Blood Diner (1987). Plus we pick our CONTEST winner of The MVD & Unearthed BIrthday Giveaway The semi official but not so similar Blood Feast 2 film that you always wanted to see? And when you do FEAST your eyes on it will you succumb to the powers of SHEETAR! WE did... and her teeth were so pretty. A story about 2 boys who grew up studying the Egyptian art of cannibalism & magic run a famous veggie restaurant on the corner of Hollywood Blvd and death. They are hacking up customers who sign up for their mailer to create the perfect franken SHEETAR! Will they succeed or will the jealous competition find out what they are up to and stop them. It's all here in one WEIRD... episode. JOIN US! Episode Link ► https://www.longlivethevoid.com/episodes/ep368 VIDEO Podcast LINK ► LinkTree ► https://linktr.ee/btvcast Time Stamps Blood Diner (1987) Spoiler Free Review - 10:59 Blood Diner - Trivia & Spoilers Discussion - 24:11 End of Podcast Talk - 41:27 So grab your Uncle Anwar and be sure to grab your Batter. Oh and please for the love of podcasts don't forget to bring your Copy of Blood Feast as we travel Beyond The Void!
Oh Snap! The Viewer's Strike back begins! Nicolette shows up to make us watch 1987's Blood Diner! We had a blast! We talked about OJ's Death for a long time and Big Fat booties!Join us as we have the best time!Blood Diner is on Roku !Follow us on Instagram:@Gaspatchojones@Homewreckingwhore@Alwaysincivilunrest@The_Miseducation_of_DandG_PodCheck Out Our WebsiteIf you love the show check out our Teepublic shop!Right Here Yo!
Flesh Wound Horror Live, with a special Franchise Show on The Godfather Of Gore H.G. Lewis's BLOOD FEAST. We kick it off with the original 1963 drive in classic, followed by the first unofficial sequel, MARDI GRAS MASSACRE, the second unofficial 1987 Jackie Kong directed sequel, BLOOD DINER, the long awaited official 2002 sequel, BLOOD FEAST 2: ALL U CAN EAT, & the 2016 Remake BLOOD FEAST, from director Marcel Walz. https://www.youtube.com/watch?v=QMUn5blQjMk #BloodFeast #HGLewis #GodfatherOfGore #BloodDiner #VideoNasty #MardiGrasMassacre #80sHorror #80s #60sHorror #HerschellGordonLewis #BloodFeast2AllUCanEat #Cannibals #CarolineWilliams #Grindhouse #Severin #DriveIn #ArrowVideo #DavidFriedman #WilliamKerwin #MalArnold #Ishtar #Egypt #Vestron #SomethingWeird #42ndStreet #JackieKong #HorrorMovies #RobertRusler #SophieMonk #GermanHorror
Wild horses couldn't make us stay away, maniacs! We're getting a little weird this week as we unpack the bonkers Canadian sequel Hello Mary Lou: Prom Night II. And who better to join us on this journey than our friends Ande and Eanna from the Queens Of NC-17 podcast? Tune in as we discuss the flick and other topics such as girl naps, confessional wafer Jeez-Its, Canadian Duckie, and of course Big Milk strikes again. Drop that Caramello and check out our Patreon! This month we counted down our top five 1990s comedies. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want more crossover between us and the Queens? Check out our previous episodes on Blood Diner (episode 128) and Deadly Friend (episode 255). There's also the very funny Friday The 13th crossover between the two of us on Start The Beat With Sikes.
Woods are woods, maniacs! This week we're taking a look at the 1987 backwoods island flick American Gothic. While we parse through the plot, we also discuss topics such as offensive shirts of the 80s, Bazooka Joe's hard gum, and Lance's tramuatic story about The Clarks. Drop that Caramello and check out our Patreon! This month we counted down our top five 1990s comedies. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want more slasher flick talk from 1987? Check out our previous episodes on Bloody New Year (episode 16), The Stepfather (episode 27), Stagefright (episode 36), Blood Harvest (episode 51), The Majorettes (episode 55), Blood Diner (episode 128), Slaughterhouse (episode 133), Slumber Party Massacre II (episode 178), and Blood Lake (episode 321).
This time on More Deadly, we are joined by our buddy Casey of the Bloody Good Horror Podcast to discuss Blood Diner, directed by Jackie Kong. We talk bizarro puppets, cannibal bros, vagina dentata, and the origin story of Ariel and Rachel's friendship — and how it connects to this film and a mummified clown. ... Read More The post The More Deadly Podcast Episode 88: Blood Diner appeared first on The Zombie Grrlz Horror Podcast.
This time on More Deadly, we are joined by our buddy Casey of the Bloody Good Horror Podcast to discuss Blood Diner, directed by Jackie Kong. We talk bizarro puppets, cannibal bros, vagina dentata, and the origin story of Ariel and Rachel’s friendship — and how it connects to this film and a mummified clown. ... Read More The post The More Deadly Podcast Episode 88: Blood Diner appeared first on The Zombie Grrlz Horror Podcast.
In this special episode, Carl features Tim Cridland aka ZAMORA THE TORTURE KING; a sideshow performer with a rich history in the paranormal and “WEIRD—OLOGY”. Tim speaks about the famous anthropologist Grover Krantz who he interviewed twice and was one of the first main stream scientists to come out in support of the belief in BIGFOOT as a living breathing humanoid. Tim reveals some amazing revelations regarding what the scientific community thought about Krantz's conclusions and speaks candidly about another sighting at the atomic testing facility GROUND ZERO, which is next door to Area 51 in the Nevada desert. It was labeled ATOMIC BIGFOOT by the local media.Also joining the show is Alonso Rodrigez, who for the first time speaks about two encounters he had with the legendary BIGFOOT. Alonso grew up watching the PATTERSON-GIMLIN film and knew about the knocking sounds which the creatures use to communicate. Alonso and his friends were on a hike and he kept making the sounds, hitting a branch against the trees. Soon they were being followed and a confrontation occurred. Alonso was very hesitant to tell anyone about his what happened fearing that people would label him as crazy not realizing these encounters have become more more prevalent. Please join us for this fascinating conversation.Fourth Watch Files is hosted by Carl Crew, known as the Barnum of Burbank Blvd. He is the founder of the California Institute of Abnormalarts in North Hollywood, which is a circus themed freak show night club, focusing on the extreme and unusual. Carl is also an actor, screenwriter and filmmaker, starring in the movies Jeffrey Dahmer: The Secret Life and Blood Diner, an underground cult classic. Carl takes a look at a wide variety of unusual topics, including Bigfoot, UFOs, secret societies and conspiracy theories in this new show exclusively on Freedom First Network.
It's the very 100 and 8th episode of Forsaken Cinema Podcast!!! This week, Mel and I discuss the 1987 cult classic, horror comedy, “Blood Diner”. Hail Sheetar! We say “Sheetar” a LOT in this episode, but still probably not as much as they say it in the movie. This is a short and sweet one for you freaks so COME GET IT!!! ——— Also discussed: Thanksgiving (2023) Suitable Flesh (2023) Phenomena (1985) Slotherhouse (2023) ——— If you dig the show, PLEASE! Subscribe, follow, rate, review, and share!!! ——— www.forsakencinema.com Instagram.com/Forsakencinema Facebook.com/Forsakencinema Forsakencinemapodcast@gmail.com
It's the very 100 and 7th episode of Forsaken Cinema Podcast!!! This week, we're talking about John Carpenter's “Prince of Darkness”. This is an episode that was recorded a couple of months ago, right before October started. We WERE gonna talk about Blood Diner this week for Thanksgiving (the perfect movie to do for Thanksgiving, right???) But one of your cohosts named Melissa decided to get a sinus infection (she's doing ok now, btw). BUT, this episode is being released on the biggest drinking night of the year, so maybe it's appropriate that we're doing a movie about a bunch of people (unwillingly) drinking from a big ol' jar of Satan juice? I dunno. Anyways, we hope you freaks dig it!! ——— Also discussed: The Last Voyage of the Demeter (2023) Talk to Me (2023) No One Will Save You (2023) Phantoms (1998) No Reason (2010) ——— If you dig the show, PLEASE! Subscribe, follow, rate, review, and share!!! ——— www.forsakencinema.com Instagram.com/Forsakencinema Facebook.com/Forsakencinema Forsakencinemapodcast@gmail.com
We have Jackie Kong for an interview. If you want some deep info on Night Patrol, it's right here.
Grab your apron and your dead uncle's brain to join us for the blood feast as we devour Jackie Kong's Blood Diner. Email: WeeklyPodcastMassacre@gmail.com Threads: @WeeklyMassacre Instagram: @WeeklyMassacre Music by Dora the Destroyer --- Send in a voice message: https://podcasters.spotify.com/pod/show/weeklypodcastmassacre/message
Blood Diner is a 1987 American horror comedy directed by Jackie Kong and starring Rick Burks, Carl Crew, Roger Dauer, LaNette LaFrance, and Lisa Guggenheim. It was written by Michael Sonye. The plot follows two brothers setting up a vegetarian restaurant as a front for them to kill women and collect their severed body-parts to resurrect the Lumerian goddess Sheetar. The film was originally conceived to be a sequel to Hershell Gordon Lewis' Blood Feast, but it was then changed to be a standalone film of its own. Although general reception towards the film has been mixed, it has become a cult film since its release. FRUMESS is POWERED by www.riotstickers.com/frumess GET 1000 STICKERS FOR $79 RIGHT HERE - NO PROMO CODE NEED! JOIN THE PATREON FOR LESS THAN A $2 CUP OF COFFEE!! https://www.patreon.com/Frumess
On this Off-Topic episode, Nolan is joined by Ben McBride, Paul Farrell, and Emily von Seele to talk about the movies they saw during the first half of Fantastic Fest 2023. Movies discussed on this episode: THE TOXIC AVENGER (2023), SLEEP (2023), TIGER STRIPES (2023), THE ORIGIN (2023), WHEN EVIL LURKS (2023), SCALA (2023), WHERE THE DEVIL ROAMS (2023), THE FALL OF THE HOUSE OF USHER (2023), RAGE (2023), V/H/S/85 (2023), THE LAST VIDEO STORE (2023), SRI ASIH: THE WARRIOR (2023), SPOOKTACULAR! (2023), THE UNCLE (2023), PET SEMATARY: BLOODLINES (2023), THE SACRIFICE GAME (2023), FALLING STARS (2023), 100 YARDS (2023), THE STRANGLER (1970), SUBURBAN TALE (2023), STOPMOTION (2023), BLOOD DINER (1987), KILL (2023), THE WAIT (2023), CRUMB CATCHER (2023), THE COFFEE TABLE (2023), RIVER (2023), SO UNREAL (2023). Links of interest and/or sources cited for research for this episode: [Fantastic Fest 2023] Review Round-Up: SPOOKTACULAR, THE WAIT, WHERE THE DEVIL ROAMS, PET SEMATARY: BLOODLINES by Paul Farrell (Dead Ringers) [Fantastic Fest 2023] Review Round-Up: FALLING STARS, STRANGE DARLING, YOU'RE NOT ME by Paul Farrell (Dead Ringers) [Fantastic Fest 2023] Review Round-Up: WHEN EVIL LURKS, CRUMB CATCHER, RIVER, PROPERTY by Paul Farrell (Dead Ringers) [Fantastic Fest 2023] Review Round-Up: THERE'S SOMETHING IN THE BARN, THE COFFEE TABLE, SO UNREAL, DOOR (1988) by Paul Farrell (Dead Ringers) [Fantastic Fest 2023] Review Round-Up: THE UNCLE, BARK, WHAT YOU WISH FOR, RAGE, COBWEB by Paul Farrell (Dead Ringers) Fantastic Fest 2023 Review: V/H/S/85 is an Exceptionally Strong Entry in the Beloved Anthology Series by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: FALLING STARS is a Folk Horror Tale with a Fascinating Mythology by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: THE FALL OF THE HOUSE OF USHER Mixes Poe's Stories to Create a Creepy and Compelling New Tale by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: PET SEMATARY: BLOODLINES Takes Interesting Turns, but Never Quite Reaches the Level of Its Predecessors by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: SPOOKTACULAR! is a Charming Documentary on the Groundbreaking SPOOKY WORLD Annual Event by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: Jenn Wexler Conjures Something Amazing with THE SACRIFICE GAME by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review Round-Up: Holiday Horror Edition with THE UNCLE, YOU ARE NOT ME, THERE'S SOMETHING IN THE BARN by Emily von Seele (Daily Dead) Fantastic Fest 2023 Review: TOTALLY KILLER is a High-Energy Horror-Comedy with a Heart by Emily von Seele (Daily Dead) Fantasia Film Festival 2023 Review: WHERE THE DEVIL ROAMS is a Hypnotic Journey Into the Unknown by Emily von Seele (Daily Dead) ‘The Reptile' – One of Hammer's Best Original Horror Movies [Hammer Factory] by Paul Farrell (Bloody Disgusting) ‘A Night in Terror Tower' – Revisiting the ‘Goosebumps' Book and Its TV Adaptation by Paul Farrell (Bloody Disgusting)
Blood Feast (1963), Two Thousand Maniacs! (1964), The Gruesome Twosome (1967), The Wizard of Gore (1970) When Herschell Gordon Lewis made his first nudie cutie film in 1961, nobody would have expected that he'd become one of the most important names in the history of horror. But with the release of Blood Feast just two years later, Lewis and his producing partner David F. Friedman would invent the gore subgenre and would fundamentally reshape horror as we knew and understood it. And for about a decade after it, Lewis would continue to release gore-obsessed fare to grindhouses and drive-ins across the nation. When those sorts of theaters started to fade away in the 70s, so did Lewis, who went back to his previous career in advertising. But in the 80s and beyond his fame was resuscitated on home video and in the pages of magazines like Fangoria and Deep Red where he became known as The Godfather of Gore. With some help from Christopher Wayne Curry, author of A Taste of Blood: The Films of Herschell Gordon Lewis, we dive into four of his films and manage to talk about a whole slew of others. Movies mentioned in this episode: Bell, Bare and the Beautiful (1963), Blood Diner (1987), Blood Feast (1963), Blood Feast (2016), Blood Feast 2: All U Can Eat (2002), Blood Sucking Freaks (1976), Boin-n-g (1963), Color Me Blood Red (1965), Curse of Frankenstein (1957), The Gore Gore Girls (1972), Gruesome Twosome (1967), I Drink Your Blood (1971), Intolerance (1916), Jigoku (1960), Mardi Gras Massacre (1978), Moonshine Mountain (1964), Multiple Maniacs (1970), Night of the Living Dead (1968), A Nightmare on Elm Street (1984), Pit Stop (1969), Polyester (1981), Scream Baby Scream (1969), Scum of the Earth (1963), A Taste of Blood (1967), Tarantula (1955), The Texas Chain Saw Massacre (1974), Serial Mom (1994), This Stuff'll Kill Ya! (1971), Three on a Meathook (1972), Two Thousand Maniacs (1964), Wizard of Gore (1970), Year of the Yahoo! (1971)
Tom and Jenny discuss a Z-grade, ecological monster movie from the 1980s, about a mutated creature stalking a small town in Idaho. It was the directorial debut of Jackie Kong, who would go on to direct the 1987 cult classic Blood Diner, and is also known under the title The Pottsville Horror. Audio version: Video … Continue reading Movie Time: The Being (1983)
Vestron Video is the prime example of how a major movie studio can produce their own boutique label. It has its own unique voice and there is no more perfect movie to represent it's uniqueness than Blood Diner. If you have never seen it than I would recommend doing so before listening to this podcast because Mel from My Killer Podcast and I are going to talk a ton about it and let me tell you that boy howdy is there a ton to break down. Subscribe to My Killer Podcast on Youtube - / @mykillerpodcast Purchase Blood Diner from Vestron Video - https://a.co/d/dI6UOMx Here Is My LinkTree - https://linktr.ee/Steelbookobsessed?u... Follow Me On TikTok - https://www.tiktok.com/@steelbookobse... Follow Me On Instagram - https://www.instagram.com/steelbookob...
School is in session, maniacs! To celebrate our six year anniversary episode, we decided to break format a little and cover a fun comedy from 1987: the Carl Reiner directed romp Summer School. This movie boasts an impressive cast, including Dean Cameron who we interview at the end of the episode! Tune in as we break down the flick and discuss other topics such as lies about celebrity deaths, the brilliance of the movie's script, and the classic 80s trope of having actors pushing 30 play high schoolers. Drop that Caramello and check out our Patreon! For August's bonus episode, which we're calling the Back In The Day Blitz, Lance prompts the table with some questions relating to our childhoods. For as little as $2 a month you can get in on the action as well with bonus episodes, Discord privileges, livestreams, exclusive merchandise and more! Want to hear us break down more comedies? Check out our previous episodes on Return Of The Living Dead (episode 81), Better Off Dead (episode 100), House II: The Second Story (episode 111), Blood Diner (episode 128), Return Of The Killer Tomatoes (episode 158), Vampire's Kiss (episode 167), The Burbs (episode 200), and Army Of Darkness (episode 240).
Blood Feast - "Have you ever had an Egyptian Feast?"Up next we discuss an early entry into the splatter pantheon BLOOD FEAST (1963). A suburban housewife wants to throw a lavish dinner party for her daughter. Inspired by her daughters studies in Egyptian history - she enlists the services of the deli man to cater her event as a surprise ...the most surprising thing is what's really on the menu!This cult classic has inspired many films and an 80's punk rock remake BLOOD DINER 1987. We hope you enjoy this delectable fresh episode!Support the show
We asked half a million horror fans online what the best cheesy horror movie ever made is, and we're here with their answers and votes, and ours! Enter this Blood Diner if you dare, order a slice with extra cheese (gotta have extra cheese, a light cheese pizza is a bad taste), give this episode a listen and when you leave we will give you a cheery 'see you later alligator' on the way out the door. Come for the 'Who Made Who?' blasting out the windows, stay for the good news we have for you, which is that your dates are here. The bad news is.... well, you know. Support us and talk to us directly here! https://www.facebook.com/groups/wearehorrorweekly/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/horrorweekly1/message
Welcome to No Bodies! Get ready to get ugly. Content Warnings for this Episode Light vulgarity. Introduction This episode was recorded on June 29, 2023 and posted on July 15, 2023. Welcome to No Bodies Episode 2 Introductions to your Ghosts Hosts with the Most - Lonely of Lonely Horror Club and Projectile Varmint aka Suzie of Horror Movie Weekly Introductions to our guests - hosts of Feature Creatures D.T.F Jordana & Sam. Today's Topic: Evolution of the Slasher Slasher Discourse Our experiences with slashers Defining slashers “Is it a slasher?” rapid fire Scream (1996) & Wes Craven's impact Modern Slashers & Controversy Worst & Best Representations of Slashers Spoilers ahead! Worst Examples of a Slasher - Sam & Jordana A Nightmare On Elm Street (2010) Halloween (2007) Worst Ending - Suzie April Fool's Day (1986) Worst Backstory - Lonely Leatherface (2017) Best Examples of a Slasher - Sam & Jordana Black Christmas (1974) Halloween (1978) Best Final Girl - Suzie Mia from Evil Dead (2013) Best Final Guy - Lonely Jesse from A Nightmare on Elm Street 2: Freddy's Revenge (1985) Suzie's Deep Cuts May (2002) Cold Prey (2006) All the Boys Love Mandy Lane (2016) Lake Bodom (2016) Scare Campaign (2016) Mandy (2018) Hellfest (2018) The Banana Split Movie (2019) Slashers Made by Women Slumber Party Massacre (1982) Blood Diner (1987) Sorority House Massacre (1986) Jennifer's Body (2009) Piggy (2018) Fear Street Trilogy (2021) Candyman (2021) Final Thoughts Where is the future of the slasher? Thank you to our guests! Jordana is on Instagram as @prettykillerpodcast and hosts Pretty Killer Podcast on Apple Podcasts & Spotify. Sam is on Instagram as @2bornot2bmovies! Follow Jordana & Sam's new podcast Feature Creatures D.T.F on Apple Podcasts & Spotify and Instagram Keep Up With Your Hosts Check out our instagram antics and drop a follow @nobodieshorrorpodcast. Projectile Varmint - catch Suzie on Horror Movie Weekly with our dear friends Jay of the Dead, Mister Waston, and Channy Dreadful. Suzie also runs the HMW Instagram @ horrormovieweekly. Lonely - read more from Lonely and keep up with her filmstagram chaos @lonelyhorrorclub on Instagram and www.lonelyhorrorclub.com. Original No Bodies Theme music by Jacob Pini. Need music? Find Jacob on Instagram at @jacob.pini for rates and tell him No Bodies sent you! Leave us a message at (617) 431-4322 and we just might answer you on the show! Sources & Additional Reading Kench, Sam. “The Slasher Film - Definition, Characters, Villains & Tropes.” StudioBinder, 25 Oct. 2021, www.studiobinder.com/blog/what-is-a-slasher-film-definition/. Mikulee, Sven. “‘Psycho': The Proto-Slasher That Brought on a Revolution in Cinema • Cinephilia & Beyond.” Cinephilia & Beyond, 10 Feb. 2023, cinephiliabeyond.org/psycho-proto-slasher-brought-revolution-cinema/#:~:text=Most%20importantly%20for%20filmmaking%20in,era%2C%20the%20extremely%20blood%20eighties. Rhuart, Britton, "A Blade in the Dark: Translating the Giallo Killer into the Slasher" (2018). Ray Browne Conference on Cultural and Critical Studies. 4. https://scholarworks.bgsu.edu/rbc/2018conference/005/4 Smith, Donnie. “How Scream Changed the Face of Horror.” MovieWeb, 10 Jan. 2022, movieweb.com/scream-changed-horror-genre/#:~:text=As%20with%20the%20slasher%20giants,out%20breaking%20the%20fourth%20wall.
In this week's episode Jef, Josh and Brian almost Sheetar'd their pants when they were served up a movie just like an ancient Lumerian feast that they had been dodging forever. A top level Patreon Patron delivered the 1987 horror comedy "Blood Diner" for the crew to chew on. One thing the FM3 figured out very quickly is this movie is batshit crazy balls! One second you got a couple dipsticks knocking a security guards eyes out with a shovel, next they are taking orders from a brain in a jar, then they are shooting up an aerobics class to harvest body parts, and then they are deep frying fingers for vegetarians to munch on and all that's before the REAL wild shit starts! Sheetar help us!
Our old buddy Sean Marciniak (GooseVonKaiser on Twitch) returns to discuss undead marvels of technological evil in episode 6 of Toei's Spider-Man entitled, "The Hair-Raising Laboratory! The Devil Known as Professor Monster!" Join us as we chat about new cat litter, OJ, fantasy tropes, mother in-laws, rag dolls, "Blood Diner", zombies, Zoombinis, being veiny, freeze frames, weird fight scenes, Juggalos, All Thumbs!, geese, & more! Want to hear more from your favorite Marsh Land Media hosts? Hear exclusive shows, podcasts, and content by heading to Patreon.com/MLMpod! Have fan mail, fan art, projects you want us to review, or whatever you want to send us? You can ship directly to us using "James McCollum, PO Box 180036, 2011 W Montrose Ave, Chicago, IL 60618"! Please, learn about Black Lives Matter, the protests, and find ways to donate at https://blacklivesmatters.carrd.co/. Follow the podcast on Facebook & Twitter @MSSPod, on Instagram @MSSPodcast! Watch James' "Mostly Playin' PlayStation" and our live streams on the MSS YouTube channel! On top of streaming on Facebook & YouTube, we also simul-stream at Twitch.tv/MostlySpeakinSentai! Listen to James' rap music under Marsh Land Monster on Spotify, Apple Music, Google Play, & more by clicking HERE. Send us a voice mail to be played on the show at (773) 270-0490! Nicole's Patreon is live! Check out www.Patreon.com/DarlingHombody for more details! Plus, head over to www.DarlingHomebody.com for all her art, the web comic Crumb Bums we make together, buy her merchandise, & watch her draw Gorma creations from the podcast! You can also buy her artwork on shirts and more on threadless.com/@darlinghomebody! Find her @DarlingHomebody on Instagram, Tumblr and Etsy! Buy her wares! Go purchase some of our original Sentai monster designs on RedBubble then post a pic on social media of you wearing the threads!www.redbubble.com/people/MSSPod/portfolio Find out more about James' other podcasts "Shuffling the Deck", "Sweet Child of Time", "Hit It & Crit It", and "This Movie's Gay" on our website, www.MLMPod.com!!! Plus, download James' albums!
The Windy City Heat legend and STAR (kinda) of Blood Diner, Don Barris is here and it gets weird. Get ready for more chaos coming every TUESDAY! With a vault video every THURSDAY! Use code KATIEAFRAIDY25 to get 25% off of your Fangoria subscription ! Follow us on Socials! https://www.instagram.com/katie.afraidy/ https://www.instagram.com/kthetty/ Check out Filmcraft Studio Gear! https://www.instagram.com/filmcraftla/ Follow us on Socials! https://www.instagram.com/katie.afraidy/ https://www.instagram.com/kthetty/
SHEETAR!! This week I'm joined by new friends Rachel & Ariel, the hosts of The MORE DEADLY Podcast, to discuss the epitome of 1987 absurdism and excess: Jackie Kong's BLOOD DINER! We also talk about spooky West Hollywood music venues, my spotlight-stealing cat, and my taste in problematic men with hypnotic mind-controlling powers. LET'S GO RICK OR TREATING!PODCAST:www.RickOrTreat.comINSTA: @RickOrTreatPodMORE DEADLY (Guest Hosts)www.zombiegrrlz.comSOCIALS: @zgpodcastsRICKY (Host):MY WRITING:www.Rue-Morgue.comwww.SpoilerFreeReviews.comINSTA: @rickrtreatLESTAT VON MONDLICHT (Music by):Youtube:https://www.youtube.com/@lestatvonmondlichtCRIMSON SOUL:Insta: @crimsonsoulofficialhttps://www.facebook.com/crimsonsoulofficialAFTER DARK (Band):https://www.facebook.com/afterdarkofficialuyhttps://www.instagram.com/afterdarkuyhttps://www.youtube.com/@afterdarkuyDROP BEAT EMPIRE (Electrogoth project):https://linktr.ee/dropbeatempireuy
Greetings horror fans and welcome to the final installment of Honoring Women's History Month which is the theme for March where the crew reviews movies directed by women. Join your host Austin and his special guest Mikey (Slashers Podcast) as they talk about Blood Diner! The conversation starts off with some recent news in horror and some Women's History facts as well. After that, they move on to the IMDb summary portion of the episode and follow that up with a spoiler heavy review of Blood Diner. Sit back, relax and enjoy the conversation! Stay Spooky! In honor of this month, Frightmares is spotlighting the Planned Parenthood charity which delivers vital reproductive health care, sex education, and information to millions of people worldwide. The link has been provided below if you would like to show some support. Donate Online Today (weareplannedparenthood.org) Check out the Linktree below for all our social media sites as well as the crews Letterboxd pages and much more! linktr.ee/frightmarespodcast stayspooky@outlook.com Timestamps for episode. Intro - 0:00 - 5:18 Horror News - 5:18 - 27:10 Women's History Facts - 27:10 - 28:33 IMDb Summary - 28:33 - 41:41 Review - 41:41 - 48:25 Spoilers - 48:25 - 56:25 Wrap Up and Ratings - 56:25- 59:01 Bad Reviews - 59:01 - 1:00:39 Outro - 1:00:39 - 1:03:53
It's a brand new month here on So I Married A Horror Fan! We are kicking off March in the wildest way possible by looking at Blood Diner from 1987! How the hell did Leigh end up becoming obsessed with this film without having ever seen it? What in the hell is this movie? Like, seriously where do we even begin with it? We get into how this is very much a product of the 80s and how making a movie this off the wall would be a challenge now. We try to break the 7000 different things going on in this movie, and if any of it works at all We talk about the characters and whether or not there is anyone at all you are meant to root for in this film. We each give our own personal thoughts on cannibalism and the use of it in films and how it's depicted here. All of this and lots more in this fun, wild episode. Press that play button now and Hail Sheetar! Find us on Social Media: Twitter: SIMAHFPOD Instagram: soimarriedahorrorfan Tumblr:soimarriedahorrorfan
Josh, Alison and Brady attend the ball with The Leopard - the 1963 sweeping historical Italian drama starring Burt Lancaster directed by Luchino Visconti.Plus!The Green Planet, Saving Private Ryan, The Damned, Faceless, Cherry Falls, The Running Man, Cunk on Earth and Blood Diner!Send submissions to our Child Throwing and Man on Fire lists!Leave us a voicemail! We'll play it on the show. Check out the Solid Six Store!Letterboxd: Alison, Josh, BradyEmail us - podcast@solidsix.netFollow us on Instagram, Facebook, and TwitterLeave a review on Apple Podcasts and Spotify!
The first of a two-part series on the short-lived 80s American distribution company responsible for Dirty Dancing. ----more---- The movies covered on this episode: Alpine (1987, Fredi M. Murer) Anna (1987, Yurek Bogayevicz) Billy Galvin (1986, John Grey) Blood Diner (1987, Jackie Kong) China Girl (1987, Abel Ferrera) The Dead (1987, John Huston) Dirty Dancing (1987, Emile Ardolino) Malcolm (1986, Nadia Tess) Personal Services (1987, Terry Jones) Slaughter High (1986, Mark Ezra and Peter Litten and George Dugdale) Steel Dawn (1987, Lance Hook) Street Trash (1987, Jim Muro) TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Have you ever thought “I should do this thing” but then you never get around to it, until something completely random happens that reminds you that you were going to do this thing a long time ago? For this week's episode, that kick in the keister was a post on Twitter from someone I don't follow being retweeted by the great film critic and essayist Walter Chaw, someone I do follow, that showed a Blu-ray cover of the 1987 Walter Hill film Extreme Prejudice. You see, Walter Chaw has recently released a book about the life and career of Walter Hill, and this other person was showing off their new purchase. That in and of itself wasn't the kick in the butt. That was the logo of the disc's distributor. Vestron Video. A company that went out of business more than thirty years before, that unbeknownst to me had been resurrected by the current owner of the trademark, Lionsgate Films, as a specialty label for a certain kind of film like Ken Russell's Gothic, Beyond Re-Animator, CHUD 2, and, for some reason, Walter Hill's Neo-Western featuring Nick Nolte, Powers Boothe and Rip Torn. For those of you from the 80s, you remember at least one of Vestron Pictures' movies. I guarantee it. But before we get there, we, as always, must go back a little further back in time. The year is 1981. Time Magazine is amongst the most popular magazines in the world, while their sister publication, Life, was renowned for their stunning photographs printed on glossy color paper of a larger size than most magazines. In the late 1970s, Time-Life added a video production and distribution company to ever-growing media empire that also included television stations, cable channels, book clubs, and compilation record box sets. But Time Life Home Video didn't quite take off the way the company had expected, and they decided to concentrate its lucrative cable businesses like HBO. The company would move Austin Furst, an executive from HBO, over to dismantle the assets of Time-Life Films. And while Furst would sell off the production and distribution parts of the company to Fox, and the television department to Columbia Pictures, he couldn't find a party interested in the home video department. Recognizing that home video was an emerging market that would need a visionary like himself willing to take big risks for the chance to have big rewards, Furst purchased the home video rights to the film and video library for himself, starting up his home entertainment company. But what to call the company? It would be his daughter that would come up with Vestron, a portmanteau of combining the name of the Roman goddess of the heart, Vesta, with Tron, the Greek word for instrument. Remember, the movie Tron would not be released for another year at this point. At first, there were only two employees at Vestron: Furst himself, and Jon Pesinger, a fellow executive at Time-Life who, not unlike Dorothy Boyd in Jerry Maguire, was the only person who saw Furst's long-term vision for the future. Outside of the titles they brought with them from Time-Life, Vestron's initial release of home video titles comprised of two mid-range movie hits where they were able to snag the home video rights instead of the companies that released the movies in theatres, either because those companies did not have a home video operation yet, or did not negotiate for home video rights when making the movie deal with the producers. Fort Apache, The Bronx, a crime drama with Paul Newman and Ed Asner, and Loving Couples, a Shirley MacLaine/James Coburn romantic comedy that was neither romantic nor comedic, were Time-Life productions, while the Burt Reynolds/Dom DeLuise comedy The Cannonball Run, was a pickup from the Hong Kong production company Golden Harvest, which financed the comedy to help break their local star, Jackie Chan, into the American market. They'd also make a deal with several Canadian production companies to get the American home video rights to titles like the Jack Lemmon drama Tribute and the George C. Scott horror film The Changeling. The advantage that Vestron had over the major studios was their outlook on the mom and pop rental stores that were popping up in every city and town in the United States. The major studios hated the idea that they could sell a videotape for, say, $99.99, and then see someone else make a major profit by renting that tape out fifty or a hundred times at $4 or $5 per night. Of course, they would eventually see the light, but in 1982, they weren't there yet. Now, let me sidetrack for a moment, as I am wont to do, to talk about mom and pop video stores in the early 1980s. If you're younger than, say, forty, you probably only know Blockbuster and/or Hollywood Video as your local video rental store, but in the early 80s, there were no national video store chains yet. The first Blockbuster wouldn't open until October 1985, in Dallas, and your neighborhood likely didn't get one until the late 1980s or early 1990s. The first video store I ever encountered, Telford Home Video in Belmont Shores, Long Beach in 1981, was operated by Bob Telford, an actor best known for playing the Station Master in both the original 1974 version of Where the Red Fern Grows and its 2003 remake. Bob was really cool, and I don't think it was just because the space for the video store was just below my dad's office in the real estate company that had built and operated the building. He genuinely took interest in this weird thirteen year old kid who had an encyclopedic knowledge of films and wanted to learn more. I wanted to watch every movie he had in the store that I hadn't seen yet, but there was one problem: we had a VHS machine, and most of Bob's inventory was RCA SelectaVision, a disc-based playback system using a special stylus and a groove-covered disc much like an LP record. After school each day, I'd hightail it over to Telford Home Video, and Bob and I would watch a movie while we waited for customers to come rent something. It was with Bob that I would watch Ordinary People and The Magnificent Seven, The Elephant Man and The Last Waltz, Bus Stop and Rebel Without a Cause and The French Connection and The Man Who Fell to Earth and a bunch of other movies that weren't yet available on VHS, and it was great. Like many teenagers in the early 1980s, I spent some time working at a mom and pop video store, Seacliff Home Video in Aptos, CA. I worked on the weekends, it was a third of a mile walk from home, and even though I was only 16 years old at the time, my bosses would, every week, solicit my opinion about which upcoming videos we should acquire. Because, like Telford Home Video and Village Home Video, where my friends Dick and Michelle worked about two miles away, and most every video store at the time, space was extremely limited and there was only space for so many titles. Telford Home Video was about 500 square feet and had maybe 500 titles. Seacliff was about 750 square feet and around 800 titles, including about 50 in the tiny, curtained off room created to hold the porn. And the first location for Village Home Video had only 300 square feet of space and only 250 titles. The owner, Leone Keller, confirmed to me that until they moved into a larger location across from the original store, they were able to rent out every movie in the store every night. For many, a store owner had to be very careful about what they ordered and what they replaced. But Vestron Home Video always seemed to have some of the better movies. Because of a spat between Warner Brothers and Orion Pictures, Vestron would end up with most of Orion's 1983 through 1985 theatrical releases, including Rodney Dangerfield's Easy Money, the Nick Nolte political thriller Under Fire, the William Hurt mystery Gorky Park, and Gene Wilder's The Woman in Red. They'd also make a deal with Roger Corman's old American Independent Pictures outfit, which would reap an unexpected bounty when George Miller's second Mad Max movie, The Road Warrior, became a surprise hit in 1982, and Vestron was holding the video rights to the first Mad Max movie. And they'd also find themselves with the laserdisc rights to several Brian DePalma movies including Dressed to Kill and Blow Out. And after Polygram Films decided to leave the movie business in 1984, they would sell the home video rights to An American Werewolf in London and Endless Love to Vestron. They were doing pretty good. And in 1984, Vestron ended up changing the home video industry forever. When Michael Jackson and John Landis had trouble with Jackson's record company, Epic, getting their idea for a 14 minute short film built around the title song to Jackson's monster album Thriller financed, Vestron would put up a good portion of the nearly million dollar budget in order to release the movie on home video, after it played for a few weeks on MTV. In February 1984, Vestron would release a one-hour tape, The Making of Michael Jackson's Thriller, that included the mini-movie and a 45 minute Making of featurette. At $29.99, it would be one of the first sell-through titles released on home video. It would become the second home videotape to sell a million copies, after Star Wars. Suddenly, Vestron was flush with more cash than it knew what to do with. In 1985, they would decide to expand their entertainment footprint by opening Vestron Pictures, which would finance a number of movies that could be exploited across a number of platforms, including theatrical, home video, cable and syndicated TV. In early January 1986, Vestron would announce they were pursuing projects with three producers, Steve Tisch, Larry Turman, and Gene Kirkwood, but no details on any specific titles or even a timeframe when any of those movies would be made. Tisch, the son of Loews Entertainment co-owner Bob Tisch, had started producing films in 1977 with the Peter Fonda music drama Outlaw Blues, and had a big hit in 1983 with Risky Business. Turman, the Oscar-nominated producer of Mike Nichols' The Graduate, and Kirkwood, the producer of The Keep and The Pope of Greenwich Village, had seen better days as producers by 1986 but their names still carried a certain cache in Hollywood, and the announcement would certainly let the industry know Vestron was serious about making quality movies. Well, maybe not all quality movies. They would also launch a sub-label for Vestron Pictures called Lightning Pictures, which would be utilized on B-movies and schlock that maybe wouldn't fit in the Vestron Pictures brand name they were trying to build. But it costs money to build a movie production and theatrical distribution company. Lots of money. Thanks to the ever-growing roster of video titles and the success of releases like Thriller, Vestron would go public in the spring of 1985, selling enough shares on the first day of trading to bring in $440m to the company, $140m than they thought they would sell that day. It would take them a while, but in 1986, they would start production on their first slate of films, as well as acquire several foreign titles for American distribution. Vestron Pictures officially entered the theatrical distribution game on July 18th, 1986, when they released the Australian comedy Malcolm at the Cinema 2 on the Upper East Side of New York City. A modern attempt to create the Aussie version of a Jacques Tati-like absurdist comedy about modern life and our dependance on gadgetry, Malcolm follows, as one character describes him a 100 percent not there individual who is tricked into using some of his remote control inventions to pull of a bank robbery. While the film would be a minor hit in Australia, winning all eight of the Australian Film Institute Awards it was nominated for including Best Picture, Director, Screenplay and three acting awards, the film would only play for five weeks in New York, grossing less than $35,000, and would not open in Los Angeles until November 5th, where in its first week at the Cineplex Beverly Center and Samuel Goldwyn Pavilion Cinemas, it would gross a combined $37,000. Go figure. Malcolm would open in a few more major markets, but Vestron would close the film at the end of the year with a gross under $200,000. Their next film, Slaughter High, was a rather odd bird. A co-production between American and British-based production companies, the film followed a group of adults responsible for a prank gone wrong on April Fool's Day who are invited to a reunion at their defunct high school where a masked killer awaits inside. And although the movie takes place in America, the film was shot in London and nearby Virginia Water, Surrey, in late 1984, under the title April Fool's Day. But even with Caroline Munro, the British sex symbol who had become a cult favorite with her appearances in a series of sci-fi and Hammer horror films with Peter Cushing and/or Christopher Lee, as well as her work in the Bond film The Spy Who Loved Me, April Fool's Day would sit on the proverbial shelf for nearly two years, until Vestron picked it up and changed its title, since Paramount Pictures had released their own horror film called April Fools Day earlier in the year. Vestron would open Slaughter High on nine screens in Detroit on November 14th, 1986, but Vestron would not report grosses. Then they would open it on six screen in St. Louis on February 13th, 1987. At least this time they reported a gross. $12,400. Variety would simply call that number “grim.” They'd give the film one final rush on April 24th, sending it out to 38 screens in in New York City, where it would gross $90,000. There'd be no second week, as practically every theatre would replace it with Creepshow 2. The third and final Vestron Pictures release for 1986 was Billy Galvin, a little remembered family drama featuring Karl Malden and Lenny von Dohlen, originally produced for the PBS anthology series American Playhouse but bumped up to a feature film as part of coordinated effort to promote the show by occasionally releasing feature films bearing the American Playhouse banner. The film would open at the Cineplex Beverly Center on December 31st, not only the last day of the calendar year but the last day a film can be released into theatres in Los Angeles to have been considered for Academy Awards. The film would not get any major awards, from the Academy or anyone else, nor much attention from audiences, grossing just $4,000 in its first five days. They'd give the film a chance in New York on February 20th, at the 23rd Street West Triplex, but a $2,000 opening weekend gross would doom the film from ever opening in another theatre again. In early 1987, Vestron announced eighteen films they would release during the year, and a partnership with AMC Theatres and General Cinema to have their films featured in those two companies' pilot specialized film programs in major markets like Dallas, Denver, Detroit, Houston and San Francisco. Alpine Fire would be the first of those films, arriving at the Cinema Studio 1 in New York City on February 20th. A Swiss drama about a young deaf and mentally challenged teenager who gets his older sister pregnant, was that country's entry into the Best Foreign Language Film Oscar race. While the film would win the Golden Leopard Award at the 1985 Locarno Film Festival, the Academy would not select the film for a nomination, and the film would quickly disappear from theatres after a $2,000 opening weekend gross. Personal Services, the first film to be directed by Terry Jones outside of his services with Monty Python, would arrive in American theatres on May 15th. The only Jones-directed film to not feature any other Python in the cast, Personal Services was a thinly-disguised telling of a 1970s—era London waitress who was running a brothel in her flat in order to make ends meet, and featured a standout performance by Julie Walters as the waitress turned madame. In England, Personal Services would be the second highest-grossing film of the year, behind The Living Daylights, the first Bond film featuring new 007 Timothy Dalton. In America, the film wouldn't be quite as successful, grossing $1.75m after 33 weeks in theatres, despite never playing on more than 31 screens in any given week. It would be another three months before Vestron would release their second movie of the year, but it would be the one they'd become famous for. Dirty Dancing. Based in large part on screenwriter Eleanor Bergstein's own childhood, the screenplay would be written after the producers of the 1980 Michael Douglas/Jill Clayburgh dramedy It's My Turn asked the writer to remove a scene from the screenplay that involved an erotic dance sequence. She would take that scene and use it as a jumping off point for a new story about a Jewish teenager in the early 1960s who participated in secret “Dirty Dancing” competitions while she vacationed with her doctor father and stay-at-home mother while they vacationed in the Catskill Mountains. Baby, the young woman at the center of the story, would not only resemble the screenwriter as a character but share her childhood nickname. Bergstein would pitch the story to every studio in Hollywood in 1984, and only get a nibble from MGM Pictures, whose name was synonymous with big-budget musicals decades before. They would option the screenplay and assign producer Linda Gottlieb, a veteran television producer making her first major foray into feature films, to the project. With Gottlieb, Bergstein would head back to the Catskills for the first time in two decades, as research for the script. It was while on this trip that the pair would meet Michael Terrace, a former Broadway dancer who had spent summers in the early 1960s teaching tourists how to mambo in the Catskills. Terrace and Bergstein didn't remember each other if they had met way back when, but his stories would help inform the lead male character of Johnny Castle. But, as regularly happens in Hollywood, there was a regime change at MGM in late 1985, and one of the projects the new bosses cut loose was Dirty Dancing. Once again, the script would make the rounds in Hollywood, but nobody was biting… until Vestron Pictures got their chance to read it. They loved it, and were ready to make it their first in-house production… but they would make the movie if the budget could be cut from $10m to $4.5m. That would mean some sacrifices. They wouldn't be able to hire a major director, nor bigger name actors, but that would end up being a blessing in disguise. To direct, Gottlieb and Bergstein looked at a lot of up and coming feature directors, but the one person they had the best feeling about was Emile Ardolino, a former actor off-Broadway in the 1960s who began his filmmaking career as a documentarian for PBS in the 1970s. In 1983, Ardolino's documentary about National Dance Institute founder Jacques d'Amboise, He Makes Me Feel Like Dancin', would win both the Academy Award for Best Documentary Feature and the Emmy Award for Outstanding Children's Entertainment Special. Although Ardolino had never directed a movie, he would read the script twice in a week while serving on jury duty, and came back to Gottlieb and Bergstein with a number of ideas to help make the movie shine, even at half the budget. For a movie about dancing, with a lot of dancing in it, they would need a creative choreographer to help train the actors and design the sequences. The filmmakers would chose Kenny Ortega, who in addition to choreographing the dance scenes in Pretty in Pink and Ferris Bueller's Day Off, had worked with Gene Kelly on the 1980 musical Xanadu. Well, more specifically, was molded by Gene Kelly to become the lead choreographer for the film. That's some good credentials. Unlike movies like Flashdance, where the filmmakers would hire Jennifer Beals to play Alex and Marine Jahan to perform Alex's dance scenes, Emile Ardolino was insistent that the actors playing the dancers were actors who also dance. Having stand-ins would take extra time to set-up, and would suck up a portion of an already tight budget. Yet the first people he would meet for the lead role of Johnny were non-dancers Benecio del Toro, Val Kilmer, and Billy Zane. Zane would go so far as to do a screen test with one of the actresses being considered for the role of Baby, Jennifer Grey, but after screening the test, they realized Grey was right for Baby but Zane was not right for Johnny. Someone suggested Patrick Swayze, a former dancer for the prestigious Joffrey Ballet who was making his way up the ranks of stardom thanks to his roles in The Outsiders and Grandview U.S.A. But Swayze had suffered a knee injury years before that put his dance career on hold, and there were concerns he would re-aggravate his injury, and there were concerns from Jennifer Grey because she and Swayze had not gotten along very well while working on Red Dawn. But that had been three years earlier, and when they screen tested together here, everyone was convinced this was the pairing that would bring magic to the role. Baby's parents would be played by two Broadway veterans: Jerry Orbach, who is best known today as Detective Lenny Briscoe on Law and Order, and Kelly Bishop, who is best known today as Emily Gilmore from Gilmore Girls but had actually started out as a dancer, singer and actor, winning a Tony Award for her role in the original Broadway production of A Chorus Line. Although Bishop had originally been cast in a different role for the movie, another guest at the Catskills resort with the Housemans, but she would be bumped up when the original Mrs. Houseman, Lynne Lipton, would fall ill during the first week of filming. Filming on Dirty Dancing would begin in North Carolina on September 5th, 1986, at a former Boy Scout camp that had been converted to a private residential community. This is where many of the iconic scenes from the film would be shot, including Baby carrying the watermelon and practicing her dance steps on the stairs, all the interior dance scenes, the log scene, and the golf course scene where Baby would ask her father for $250. It's also where Patrick Swayze almost ended his role in the film, when he would indeed re-injure his knee during the balancing scene on the log. He would be rushed to the hospital to have fluid drained from the swelling. Thankfully, there would be no lingering effects once he was released. After filming in North Carolina was completed, the team would move to Virginia for two more weeks of filming, including the water lift scene, exteriors at Kellerman's Hotel and the Houseman family's cabin, before the film wrapped on October 27th. Ardolino's first cut of the film would be completed in February 1987, and Vestron would begin the process of running a series of test screenings. At the first test screening, nearly 40% of the audience didn't realize there was an abortion subplot in the movie, even after completing the movie. A few weeks later, Vestron executives would screen the film for producer Aaron Russo, who had produced such movies as The Rose and Trading Places. His reaction to the film was to tell the executives to burn the negative and collect the insurance. But, to be fair, one important element of the film was still not set. The music. Eleanor Bergstein had written into her script a number of songs that were popular in the early 1960s, when the movie was set, that she felt the final film needed. Except a number of the songs were a bit more expensive to license than Vestron would have preferred. The company was testing the film with different versions of those songs, other artists' renditions. The writer, with the support of her producer and director, fought back. She made a deal with the Vestron executives. They would play her the master tracks to ten of the songs she wanted, as well as the copycat versions. If she could identify six of the masters, she could have all ten songs in the film. Vestron would spend another half a million dollars licensing the original recording. The writer nailed all ten. But even then, there was still one missing piece of the puzzle. The closing song. While Bergstein wanted another song to close the film, the team at Vestron were insistent on a new song that could be used to anchor a soundtrack album. The writer, producer, director and various members of the production team listened to dozens of submissions from songwriters, but none of them were right, until they got to literally the last submission left, written by Franke Previte, who had written another song that would appear on the Dirty Dancing soundtrack, “Hungry Eyes.” Everybody loved the song, called “I've Had the Time of My Life,” and it would take some time to convince Previte that Dirty Dancing was not a porno. They showed him the film and he agreed to give them the song, but the production team and Vestron wanted to get a pair of more famous singers to record the final version. The filmmakers originally approached disco queen Donna Summer and Joe Esposito, whose song “You're the Best” appeared on the Karate Kid soundtrack, but Summer would decline, not liking the title of the movie. They would then approach Daryl Hall from Hall and Oates and Kim Carnes, but they'd both decline, citing concerns about the title of the movie. Then they approached Bill Medley, one-half of The Righteous Brothers, who had enjoyed yet another career resurgence when You Lost That Lovin' Feeling became a hit in 1986 thanks to Top Gun, but at first, he would also decline. Not that he had any concerns about the title of the film, although he did have concerns about the title, but that his wife was about to give birth to their daughter, and he had promised he would be there. While trying to figure who to get to sing the male part of the song, the music supervisor for the film approached Jennifer Warnes, who had sung the duet “Up Where We Belong” from the An Officer and a Gentleman soundtrack, which had won the 1983 Academy Award for Best Original Song, and sang the song “It Goes Like It Goes” from the Norma Rae soundtrack, which had won the 1980 Academy Award for Best Original Song. Warnes wasn't thrilled with the song, but she would be persuaded to record the song for the right price… and if Bill Medley would sing the other part. Medley, flattered that Warnes asked specifically to record with him, said he would do so, after his daughter was born, and if the song was recorded in his studio in Los Angeles. A few weeks later, Medley and Warnes would have their portion of the song completed in only one hour, including additional harmonies and flourishes decided on after finishing with the main vocals. With all the songs added to the movie, audience test scores improved considerably. RCA Records, who had been contracted to handle the release of the soundtrack, would set a July 17th release date for the album, to coincide with the release of the movie on the same day, with the lead single, I've Had the Time of My Life, released one week earlier. But then, Vestron moved the movie back from July 17th to August 21st… and forgot to tell RCA Records about the move. No big deal. The song would quickly rise up the charts, eventually hitting #1 on the Billboard charts. When the movie finally did open in 975 theatres in August 21st, the film would open to fourth place with $3.9m in ticket sales, behind Can't Buy Me Love in third place and in its second week of release, the Cheech Marin comedy Born in East L.A., which opened in second place, and Stakeout, which was enjoying its third week atop the charts. The reviews were okay, but not special. Gene Siskel would give the film a begrudging Thumbs Up, citing Jennifer Grey's performance and her character's arc as the thing that tipped the scale into the positive, while Roger Ebert would give the film a Thumbs Down, due to its idiot plot and tired and relentlessly predictable story of love between kids from different backgrounds. But then a funny thing happened… Instead of appealing to the teenagers they thought would see the film, the majority of the audience ended up becoming adults. Not just twenty and thirty somethings, but people who were teenagers themselves during the movie's timeframe. They would be drawn in to the film through the newfound sense of boomer nostalgia that helped make Stand By Me an unexpected hit the year before, both as a movie and as a soundtrack. Its second week in theatre would only see the gross drop 6%, and the film would finish in third place. In week three, the four day Labor Day weekend, it would gross nearly $5m, and move up to second place. And it would continue to play and continue to bring audiences in, only dropping out of the top ten once in early November for one weekend, from August to December. Even with all the new movies entering the marketplace for Christmas, Dirty Dancing would be retained by most of the theatres that were playing it. In the first weekend of 1988, Dirty Dancing was still playing in 855 theaters, only 120 fewer than who opened it five months earlier. Once it did started leaving first run theatres, dollar houses were eager to pick it up, and Dirty Dancing would make another $6m in ticket sales as it continued to play until Christmas 1988 at some theatres, finishing its incredible run with $63.5m in ticket sales. Yet, despite its ubiquitousness in American pop culture, despite the soundtrack selling more than ten million copies in its first year, despite the uptick in attendance at dance schools from coast to coast, Dirty Dancing never once was the #1 film in America on any weekend it was in theatres. There would always be at least one other movie that would do just a bit better. When awards season came around, the movie was practically ignored by critics groups. It would pick up an Independent Spirit Award for Best First Feature, and both the movie and Jennifer Grey would be nominated for Golden Globes, but it would be that song, I've Had the Time of My Life, that would be the driver for awards love. It would win the Academy Award and the Golden Globe for Best Original Song, and a Grammy for Best Pop Performance by a Duo or Group with Vocals. The song would anchor a soundtrack that would also include two other hit songs, Eric Carmen's “Hungry Eyes,” and “She's Like the Wind,” recorded for the movie by Patrick Swayze, making him the proto-Hugh Jackman of the 80s. I've seen Hugh Jackman do his one-man show at the Hollywood Bowl, and now I'm wishing Patrick Swayze could have had something like that thirty years ago. On September 25th, they would release Abel Ferrera's Neo-noir romantic thriller China Girl. A modern adaptation of Romeo and Juliet written by regular Ferrera writer Nicholas St. John, the setting would be New York City's Lower East Side, when Tony, a teenager from Little Italy, falls for Tye, a teenager from Chinatown, as their older brothers vie for turf in a vicious gang war. While the stars of the film, Richard Panebianco and Sari Chang, would never become known actors, the supporting cast is as good as you'd expect from a post-Ms. .45 Ferrera film, including James Russo, Russell Wong, David Caruso and James Hong. The $3.5m movie would open on 110 screens, including 70 in New York ti-state region and 18 in Los Angeles, grossing $531k. After a second weekend, where the gross dropped to $225k, Vestron would stop tracking the film, with a final reported gross of just $1.26m coming from a stockholder's report in early 1988. Ironically, China Girl would open against another movie that Vestron had a hand in financing, but would not release in America: Rob Reiner's The Princess Bride. While the film would do okay in America, grossing $30m against its $15m, it wouldn't translate so easily to foreign markets. Anna, from first time Polish filmmaker Yurek Bogayevicz, was an oddball little film from the start. The story, co-written with the legendary Polish writer/director Agnieszka Holland, was based on the real-life friendship of Polish actresses Joanna (Yo-ahn-nuh) Pacuła (Pa-tsu-wa) and Elżbieta (Elz-be-et-ah) Czyżewska (Chuh-zef-ska), and would find Czech supermodel Paulina Porizkova making her feature acting debut as Krystyna, an aspiring actress from Czechoslovakia who goes to New York City to find her idol, Anna, who had been imprisoned and then deported for speaking out against the new regime after the 1968 Communist invasion. Nearly twenty years later, the middle-aged Anna struggles to land any acting parts, in films, on television, or on the stage, who relishes the attention of this beautiful young waif who reminds her of herself back then. Sally Kirkland, an American actress who got her start as part of Andy Warhol's Factory in the early 60s but could never break out of playing supporting roles in movies like The Way We Were, The Sting, A Star is Born, and Private Benjamin, would be cast as the faded Czech star whose life seemed to unintentionally mirror the actress's. Future Snakes on a Plane director David R. Ellis would be featured in a small supporting role, as would the then sixteen year old Sofia Coppola. The $1m movie would shoot on location in New York City during the winter of late 1986 and early 1987, and would make its world premiere at the 1987 New York Film Festival in September, before opening at the 68th Street Playhouse on the Upper East Side on October 30th. Critics such as Bruce Williamson of Playboy, Molly Haskell of Vogue and Jami Bernard of the New York Post would sing the praises of the movie, and of Paulina Porizkova, but it would be Sally Kirkland whom practically every critic would gush over. “A performance of depth and clarity and power, easily one of the strongest female roles of the year,” wrote Mike McGrady of Newsday. Janet Maslim wasn't as impressed with the film as most critics, but she would note Ms. Kirkland's immensely dignified presence in the title role. New York audiences responded well to the critical acclaim, buying more than $22,000 worth of tickets, often playing to sell out crowds for the afternoon and evening shows. In its second week, the film would see its gross increase 12%, and another 3% increase in its third week. Meanwhile, on November 13th, the film would open in Los Angeles at the AMC Century City 14, where it would bring in an additional $10,000, thanks in part to Sheila Benson's rave in the Los Angeles Times, calling the film “the best kind of surprise — a small, frequently funny, fine-boned film set in the worlds of the theater and movies which unexpectedly becomes a consummate study of love, alienation and loss,” while praising Kirkland's performance as a “blazing comet.” Kirkland would make the rounds on the awards circuit, winning Best Actress awards from the Los Angeles Film Critics Association, the Golden Globes, and the Independent Spirit Awards, culminating in an Academy Award nomination, although she would lose to Cher in Moonstruck. But despite all these rave reviews and the early support for the film in New York and Los Angeles, the film got little traction outside these two major cities. Despite playing in theatres for nearly six months, Anna could only round up about $1.2m in ticket sales. Vestron's penultimate new film of 1987 would be a movie that when it was shot in Namibia in late 1986 was titled Peacekeeper, then was changed to Desert Warrior when it was acquired by Jerry Weintraub's eponymously named distribution company, then saw it renamed again to Steel Dawn when Vestron overpaid to acquire the film from Weintraub, because they wanted the next film starring Patrick Swayze for themselves. Swayze plays, and stop me if you've heard this one before, a warrior wandering through a post-apocalyptic desert who comes upon a group of settlers who are being menaced by the leader of a murderous gang who's after the water they control. Lisa Niemi, also known as Mrs. Patrick Swayze, would be his romantic interest in the film, which would also star AnthonY Zerbe, Brian James, and, in one of his very first acting roles, future Mummy co-star Arnold Vosloo. The film would open to horrible reviews, and gross just $312k in 290 theatres. For comparison's sake, Dirty Dancing was in its eleventh week of release, was still playing 878 theatres, and would gross $1.7m. In its second week, Steel Dawn had lost nearly two thirds of its theatres, grossing only $60k from 107 theatres. After its third weekend, Vestron stopped reporting grosses. The film had only earned $562k in ticket sales. And their final release for 1987 would be one of the most prestigious titles they'd ever be involved with. The Dead, based on a short story by James Joyce, would be the 37th and final film to be directed by John Huston. His son Tony would adapt the screenplay, while his daughter Anjelica, whom he had directed to a Best Supporting Actress Oscar two years earlier for Prizzi's Honor, would star as the matriarch of an Irish family circa 1904 whose husband discovers memoirs of a deceased lover of his wife's, an affair that preceded their meeting. Originally scheduled to shoot in Dublin, Ireland, The Dead would end up being shot on soundstages in Valencia, CA, just north of Los Angeles, as the eighty year old filmmaker was in ill health. Huston, who was suffering from severe emphysema due to decades of smoking, would use video playback for the first and only time in his career in order to call the action, whirling around from set to set in a motorized wheelchair with an oxygen tank attached to it. In fact, the company insuring the film required the producers to have a backup director on set, just in case Huston was unable to continue to make the film. That stand-in was Czech-born British filmmaker Karel Reisz, who never once had to stand-in during the entire shoot. One Huston who didn't work on the film was Danny Huston, who was supposed to shoot some second unit footage for the film in Dublin for his father, who could not make any trips overseas, as well as a documentary about the making of the film, but for whatever reason, Danny Huston would end up not doing either. John Huston would turn in his final cut of the film to Vestron in July 1987, and would pass away in late August, a good four months before the film's scheduled release. He would live to see some of the best reviews of his entire career when the film was released on December 18th. At six theatres in Los Angeles and New York City, The Dead would earn $69k in its first three days during what was an amazing opening weekend for a number of movies. The Dead would open against exclusive runs of Broadcast News, Ironweed, Moonstruck and the newest Woody Allen film, September, as well as wide releases of Eddie Murphy: Raw, Batteries Not Included, Overboard, and the infamous Bill Cosby stinker Leonard Part 6. The film would win the National Society of Film Critics Award for Best Picture of the year, John Huston would win the Spirit Award and the London Film Critics Circle Award for Best Director, Anjelica Huston would win a Spirit Award as well, for Best Supporting Actress, and Tony Huston would be nominated for an Academy Award for Best Adapted Screenplay. But the little $3.5m film would only see modest returns at the box office, grossing just $4.4m after a four month run in theatres. Vestron would also release two movies in 1987 through their genre Lightning Pictures label. The first, Blood Diner, from writer/director Jackie Kong, was meant to be both a tribute and an indirect sequel to the infamous 1965 Herschell Gordon Lewis movie Blood Feast, often considered to be the first splatter slasher film. Released on four screens in Baltimore on July 10th, the film would gross just $6,400 in its one tracked week. The film would get a second chance at life when it opened at the 8th Street Playhouse in New York City on September 4th, but after a $5,000 opening week gross there, the film would have to wait until it was released on home video to become a cult film. The other Lightning Pictures release for 1987, Street Trash, would become one of the most infamous horror comedy films of the year. An expansion of a short student film by then nineteen year old Jim Muro, Street Trash told the twin stories of a Greenpoint, Brooklyn shop owner who sell a case of cheap, long-expired hooch to local hobos, who hideously melt away shortly after drinking it, while two homeless brothers try to deal with their situation as best they can while all this weirdness is going on about them. After playing several weeks of midnight shows at the Waverly Theatre near Washington Square, Street Trash would open for a regular run at the 8th Street Playhouse on September 18th, one week after Blood Diner left the same theatre. However, Street Trash would not replace Blood Diner, which was kicked to the curb after one week, but another long forgotten movie, the Christopher Walken-starrer Deadline. Street Trash would do a bit better than Blood Diner, $9,000 in its first three days, enough to get the film a full two week run at the Playhouse. But its second week gross of $5,000 would not be enough to give it a longer playdate, or get another New York theatre to pick it up. The film would get other playdates, including one in my secondary hometown of Santa Cruz starting, ironically, on Thanksgiving Day, but the film would barely make $100k in its theatrical run. While this would be the only film Jim Muro would direct, he would become an in demand cinematographer and Steadicam operator, working on such films as Field of Dreams, Dances with Wolves, Sneakers, L.A. Confidential, the first Fast and Furious movie, and on The Abyss, Terminator 2, True Lies and Titanic for James Cameron. And should you ever watch the film and sit through the credits, yes, it's that Bryan Singer who worked as a grip and production assistant on the film. It would be his very first film credit, which he worked on during a break from going to USC film school. People who know me know I am not the biggest fan of horror films. I may have mentioned it once or twice on this podcast. But I have a soft spot for Troma Films and Troma-like films, and Street Trash is probably the best Troma movie not made or released by Troma. There's a reason why Lloyd Kaufman is not a fan of the movie. A number of people who have seen the movie think it is a Troma movie, not helped by the fact that a number of people who did work on The Toxic Avenger went to work on Street Trash afterwards, and some even tell Lloyd at conventions that Street Trash is their favorite Troma movie. It's looks like a Troma movie. It feels like a Troma movie. And to be honest, at least to me, that's one hell of a compliment. It's one of the reasons I even went to see Street Trash, the favorable comparison to Troma. And while I, for lack of a better word, enjoyed Street Trash when I saw it, as much as one can say they enjoyed a movie where a bunch of bums playing hot potato with a man's severed Johnson is a major set piece, but I've never really felt the need to watch it again over the past thirty-five years. Like several of the movies on this episode, Street Trash is not available for streaming on any service in the United States. And outside of Dirty Dancing, the ones you can stream, China Girl, Personal Services, Slaughter High and Steel Dawn, are mostly available for free with ads on Tubi, which made a huge splash last week with a confounding Super Bowl commercial that sent millions of people to figure what a Tubi was. Now, if you were counting, that was only nine films released in 1987, and not the eighteen they had promised at the start of the year. Despite the fact they had a smash hit in Dirty Dancing, they decided to push most of their planned 1987 movies to 1988. Not necessarily by choice, though. Many of the films just weren't ready in time for a 1987 release, and then the unexpected long term success of Dirty Dancing kept them occupied for most of the rest of the year. But that only meant that 1988 would be a stellar year for them, right? We'll find out next episode, when we continue the Vestron Pictures story. Thank you for joining us. We'll talk again next week. 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.
Hey everyone - sorry this took so long to put out. This was supposed to be released back in October before we left on the Mothman movie shoot, but a lot has happened since then that has led to a lot of complications in getting episodes out on time. We're thinking of podcasting about it soon just to be transparent, but we'll see. In the meantime, we hope you'll enjoy this super-long and ridiculous episode of TCMC featuring the very first Dahmer movie, "The Secret Life", starring Blood Diner's Carl Crew!
Episode 105 is the equivalent of a giant dinner special! Derek and Aaron are joined by Nate Boyd & Tyler McCarty of The Bruce Campbell Podcast and Animorphing Time Podcast and returning guest Heather to discuss 1987's demented horror comedy "Blood Diner" directed by Jackie Kong. They talk about the intentional choices and themes underneath the surface of a schlocky splatterfest. They also get into Jackie Kong's sense of humor, how the movie treats female characters, the through line to Herschell Gordon Lewis, among many other aspects of the flick. Nate & Tyler are the Sons of Sheetar. Aaron and Derek want another daily special. Heather wants you to avoid performing these stunts at home. Nate Boyd's Twitter: @BateNoyd Tyler McCarty's Twitter: @bearnurse The Bruce Campbell Podcast @BruceCPod : https://anchor.fm/brucecpod Animorphing Time Podcast @animorphingtime : https://animorphingtime.com/ Red Bubble: https://www.redbubble.com/people/AnimorphingTime/shop?asc=u We are on PodBean, Apple Podcasts, Podchaser, Goodpods, Amazon Music, Google, Stitcher, Spotify, and CastBox. Please rate, review, subscribe, and share our show. Also, check out our Spotify Music playlist, links on our Twitter and Podbean page. Our socials are on Facebook, Twitter and Hive @WatchIfYouDare
The IOTR Drive-In Theatre is now open for one last showing before they bulldoze this place into a mega-mall. We got oddball musicals beyond your imagination, nature run amuck, sleazy, sci-fi, comedies sure to titillate, horror to make you laugh, horror to make you scream, and a whole lot more! Don't forget to visit our refreshment stand during intermission. We're so glad you came to visit the IOTR Drive-In Theatre. Drive safe. 00:00:00 Psycho A Go-Go (1965) 00:03:10 Ratings Explained 00:03:50 You Can't Beat A Good Film 70s bumper 00:04:10 Stunt Rock (1978) 00:06:33 Rockula (1990) 00:08:22 The Apple (1980) 00:11:06 Nudist Colony of the Dead (1991) 00:14:45 Ads/intermission 00:16:21 Rats: Night of Terror (1984) 00:18:28 Frogs (1972) 00:19:27 Barracuda (1978) 00:21:26 Night of a Thousand Cats (1972) 00:23:04 Grizzly (1976) 00:26:01 Ads/intermission 00:27:29 Spermula (1976) 00:30:57 Flesh Gordon (1974) 00:33:38 2069: A Sex Odyssey (1974) 00:36:01 Emmanuelle in Space: World of Desire (1994) 00:37:13 Flesh Gordon Meets the Cosmic Cheerleaders (1990) (aka Flesh Gordon 2) 00:39:09 Ads/intermission 00:40:49 Slaughter High (1986) 00:42:26 Student Bodies (1981) 00:45:17 Blood Hook (1986) 00:47:45 Blood Diner (1987) 00:49:48 Bloodbath at the House of Death (1983) 00:52:21 Ads/intermission 00:54:21 Eyes of Fire (1983) 00:56:25 Curtains (1983) 00:57:39 The Nesting (1981) 00:59:22 Scalps (1983) 01:01:12 Horror Express (1972) 01:04:05 Ads/intermission 01:05:33 Wanda, The Wicked Warden (1977) 01:08:02 The Gore Gore Girls (1972) 01:09::25 Human Experiments (1979) 01:12:02 Phantasm II (1988) 01:13:19 Waxwork (1988) 01:15:11 The Drive-In is now closed. Support independent podcasts like ours by telling your friends and family how to find us at places like Apple Podcasts, iTunes, Spotify, Google Podcasts, Stitcher, PlayerFM, Tune In Radio, PodChaser, Amazon Music, Audible, Libsyn, iHeartRadio and all the best podcast providers. Spread the love! Like, share and subscribe! You can also help out the show with a positive review and a 5-star rating over on iTunes. We want to hear from you and your opinions will help shape the future of the show. Your ratings and reviews also help others find the show. Their "earballs" will thank you. Follow us on Twitter: @InvasionRemake Like and share us on Facebook & Instagram: Invasion of the Remake Email us your questions, suggestions, corrections, challenges and comments: invasionoftheremake@gmail.com Buy a cool t-shirt, PPE masks and other Invasion of the Remake swag at our TeePublic Store!
You're gonna need a bigger lawnmower this week, manias, because this week we're talking the 1989 Jaws parody Blades. Tune in as we discuss this goofy flick and other topics such as Ben's idea for a Doritos spokesperson, Lance's aversion to becoming a professional golfer, and a cast member who was also in "that sexy Amish movie". If you haven't checked out our brand new Patreon yet, please do! January's bonus episode finds us counting down our top 5 films by the Master Of Horror, John Carpenter. Wanna hear us talk about more silly 80s horror? Check out our episodes on Terrorvision (episode 21), Killer Klown From Outer Space (episode 26), The Video Dead (episode 69), Blood Diner (episode 128), Return Of The Killer Tomatoes (episode 158), Vampire's Kiss (episode 167), C.H.U.D. II (episode 187), and The Burbs (episode 200).
We've reached the finale of our Thanksgiving Buffet II theme and we're closing it out with the debut of a big-deal director: Peter Jackson's Bad Taste from 1987! While we make our way down to New Zealand, we also discuss topics such as tertiary characters from Full House, dangerous toys we had as children, and camera tricks on a budget. Wanna hear us get silly on the show? Check out these comedies we've covered in the past: Terrorvision (episode 21), Killer Klowns From Outer Space (episode 26), Night Of The Creeps (epsiode 52), Return Of The Living Dead (episode 81), Better Off Dead (episode 100), Fright Night (episode 102), Blood Diner (episode 128), The Evil Dead (episode 160), and The Burbs (episode 200).
Go full vegan with the delicious selection at the Tutman Cafe, Sheetar be praised!!
A Russ and Clark episode this week as they talk about Cabinet of Curiosities, Prey for the Devil, Out There Halloween Mega Tape and the newest installment of The Blackwell Ghost franchise. And we spoil it. Prepare thyself. Check out the latest Cinematic Oblivion at cinematicoblivion.com Check out the latest Scary Thoughts at scarythoughts.org Films: V/H/S/99 (2022), Guillermo del Toro's Cabinet of Curiosities (TV), Out There Halloween Mega Tape (2022), Prey for the Devil (2022), Blood Diner (1987), Terrifier 2 (2022), The Munsters (2022), Southern Comfort (1981), The Void (2016), The Blackwell Ghost 7 (2022), What Did Jack Do? (2017), The Guest (2014), The Call (2013), WNUF Halloween Special (2013), The Outer Limits (TV) Hey, we're on YouTube! Listening on an iPhone? Don't forget to rate us on iTunes! Fill our fe-mailbag by emailing us at OverlookHour@gmail.com Reach us on Instagram (@theoverlooktheatre) Facebook (@theoverlookhour) Twitter (@OverlookHour)
Stephen, Dani, and D-rock enjoy Jackie Kong's bloody masterpiece Blood Diner. Come have a laugh as we digest the exploits Tutman brothers.
Creepy Kentuckian, Uncle Bill and Garrett from @Born2BeRad Go through the complete first year of Lionsgate's Vestron Video Collector's Series. Mid Show the legendary Michael 'Slipcase' Felsher, special features extraordinaire stops in to give us some behind the scenes information on the making of a lot of the releases.
DELIBERATIONS OF DOOM VOL 3 EP 4 – COMEDY HORROR PT 1 The Doomers return after a bit of an enforced absence that we all went through. But we came back laughing as we dive into comedy horror films. Our first show in the trilogy explores 1982's Eating Raoul, 1987's Blood Diner, and 1989's Society.… Read More »Deliberations of Doom Vol 3 Ep 4 – Comedy Horror Pt 1
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