Podcast appearances and mentions of Brenda Fricker

fWotD Episode 2811: Josette Simon Welcome to Featured Wiki of the Day, your daily dose of knowledge from Wikipedia’s finest articles.The featured article for Tuesday, 14 January 2025 is Josette Simon.Josette Patricia Simon (born 1959 / 1960) is a British actor. She trained at the Central School of Speech and Drama in London and played the part of Dayna Mellanby in the third and fourth series of the television sci-fi series Blake's 7 from 1980 to 1981. First performing as a 14-year-old, in the choir for the world premiere of the finalized Joseph and the Amazing Technicolor Dreamcoat, she has continued a career in stage productions, appearing in 50 Royal Shakespeare Company (RSC) productions, from the single press night performance as a featured character in Salvation Now at the Warehouse theatre in 1982, through to playing Cleopatra in a six-month run of Antony and Cleopatra at the Royal Shakespeare Theatre in 2017. The first black woman in an RSC play when she appeared in Salvation Now, Simon has been at the forefront of colour-blind casting, playing roles traditionally taken by white actors, including Maggie, a character who is thought to be based on Marilyn Monroe, in Arthur Miller's After the Fall at the Royal National Theatre in 1990.Simon's first leading role at the RSC, the first principal part filled by a black woman for the company, was as Rosaline, in Love's Labour's Lost, directed by Barry Kyle, in 1984. In 1987, she appeared for the RSC again, in the lead role of Isabelle in Measure for Measure. Later leading roles for the RSC saw her as Titania/Hippolyta in A Midsummer Night's Dream (1999–2000) and Cleopatra in Antony and Cleopatra (2017–2018). She has played numerous other roles across stage, television, film, and radio. She starred alongside Brenda Fricker in the two-part television series Seekers (1993), written by Lynda La Plante. Simon has portrayed senior police officers in Silent Witness (1998), Minder (2009), and Broadchurch (2017); and portrayed a defence lawyer in Anatomy of a Scandal (2022).Simon won the Evening Standard's Best Actress award, a Critics' Circle Theatre Award, and Plays and Players Critic Awards for After the Fall and two film festival awards for her part in Milk and Honey (1988). She was made an Officer of the Order of the British Empire in 2000, for services to drama.This recording reflects the Wikipedia text as of 01:15 UTC on Tuesday, 14 January 2025.For the full current version of the article, see Josette Simon on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm generative Kajal.

“Another sympathetic reaction is watching people above the age of 30 fall on their backs. How is he walking?!” New friend of the show Amber Flannery Field – the only good tour guide in New York City – stops by to discuss Home Alone 2: Lost in New York. Strap the heck in for a discussion on the highly protected institution of the white American boy, the “clean-up” of New York City in the 90s, the racial politics of tourism, power, homelessness, violence and – look out below – Brenda Fricker. Settle in and learn why they call Amber “America's comic.” Also, what is a Lynchian couch? Gotta listen ‘til the end. This is about Home Alone 2, by the way.

While this is definitely a Christmas movie, Home Alone 2: Lost in New York should not have been made. It's a remake of Home Alone that came out 2 years before, but with worse pacing and less stakes. Written by John Hughes, directed by Chris Columbus, and starring Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Tim Curry, Brenda Fricker, and Catherine O'Hara. --- Support this podcast: https://podcasters.spotify.com/pod/show/thegenxfiles/support

Brent, Nate, and Kate catch the wrong flight and end up watching the 1992 American Christmas comedy Home Alone 2: Lost in New York starring: Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Devin Ratray, Hillary Wolf, Maureen Elisabeth Shay, Michael C. Maronna, Gerry Bamman, Terrie Snell, Jedidiah Cohen, Senta Moses, Daiana Campeanu, Kieran Culkin, Anna Slotky, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Rob Schneider, Leigh Zimmerman, and Ralph Foody Hosted on Acast. See acast.com/privacy for more information.

In this episode of Film Ireland presents, Gemma Creagh talks with BAFTA-nominated writer/director Virginia Gilbert about her powerful and evocative film Reawakening. Virginia Gilbert is an award-winning, BAFTA and IFTA nominated writer and director. Her screenwriting work has been placed on the BritList and she was named as a 'Star of Tomorrow' by Screen International. Her debut short as writer-director, Hesitation, won numerous awards internationally and was nominated for a BAFTA and an IFTA. Her debut feature A Long Way From Home, starring Academy-Award winner Brenda Fricker, BAFTA winner James Fox and Natalie Dormer, was nominated for the Michael Powell award for Best British Feature. Recent work includes the two-part series finale of BBC One's Silent Witness – Betrayal; award-winning Screen Ireland short Day Out, starring Martin McCann and Alisha Weir and Home, starring Max Irons, currently on the festival circuit. Previous television credits include Lord Haw-Haw for RTE 1; Money, Money, Money, RTE 2; the award-winning series Whores and IFTA-nominated series An Irish State of Mind for TG4. Virginia is also a published author. Her fiction work has featured on BBC Radio 4 and her debut novel, Travelling Companion, has been optioned for screen. Reawakening is her second feature as writer-director and her first as producer.

It's like Die Hard for kids but Patrick Stewart is there and it's also kinda like Hackers but... not as smart? Yes, it's 1997's Masterminds and Nathan and Brendan discussed it this week. While Brendan stans hard for Brenda Fricker, Nathan points out all the non-lethal violence in a movie with a whole lot of guns. They also discuss taxi radios, the insane opening hacking sequence, the lead character doing serial killer stuff and much more. Next week: A big nerd-fest full o' nerds. What We've Been Watching: In a Violent Nature Twisters Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com  Patreon: www.patreon.com/wwttpodcast Facebook: www.facebook.com/wwttpodcast Twitter: www.twitter.com/wwttpodcast Instagram: www.instagram.com/wwttpodcast Theme Song recorded by Taylor Sheasgreen: www.facebook.com/themotorleague Logo designed by Mariah Lirette: www.instagram.com/its.mariah.xo Montrose Monkington III: www.twitter.com/montrosethe3rd Masterminds stars Vincent Kartheiser, Patrick Stewart, Brenda Fricker, Bradley Whitford, Matt Craven, Annabelle Gurwitch, Callum Keith Rennie and Jon Abrahams; directed by Roger Christian. Learn more about your ad choices. Visit megaphone.fm/adchoices

We leave behind February musicians for March murderers! Erika and Paul dive into 1993's So I Married An Axe Murderer and delight in singing the praises of Nancy Travis and Amanda Plummer and Anthony LaPaglia and Brenda Fricker and Alan Arkin and…that's it, that's everyone who's going to get effusive praise in this episode. At least from Paul, Erika is, as always, a woman of the people!You can follow That Aged Well on Twitter (@ThatAgedWellPod), Instagram (@ThatAgedWell), Threads (@ThatAgedWell), and Spoutible (@ThatAgedWell)! SUPPORT US ON PATREON FOR BONUS CONTENT!THAT AGED WELL MERCH!Hosts: Paul Caiola & Erika VillalbaProducer & Editor: Paul Caiola

Documentary filmmaker, Tadhg O'Sullivan steps into the world of fiction, with his latest, The Swallow, starring Brenda Fricker as a painter recalling lost love.

The Earth Station One Rainbow Room screens the 2011 film adaptation of Thom Fitzgerald's stage play. Mike, Mike, Mary, and Ciaran Moffatt hit the road for this heartwarming and heartbreaking story starring Olympia Dukakis and Brenda Fricker. All this, along with Angela's A Geek Girl's Take, Ashley's Box Office Buzz, Michelle's Iconic Rock Moment, Creative Outlet with Jim Beard, and Shout Outs. We want to hear from you! Feedback is always welcome. Please write to us at feedback@earthstationone.com and subscribe and rate the show on Apple Podcast, Google Play, Spotify, Pandora, Amazon Music, wherever fine podcasts are found, and now we can be found on our own YouTube Channel. Links The Earth Station One Website Earth Station One on Apple Podcasts The Earth Station One YouTube Channel Earth Station One on Spotify Past Episodes of The Earth Station One Podcast Angela's A Geek Girl's Take Ashley's Box Office Buzz Michelle's Iconic Rock Talk Show Dolenz Sings R.E.M EvisionArts Please Attend Carefully Podcast Galloping Around the Cosmos The Jim Beard and Becky Books Page Promos Tifosi Optics Con Guys 42Cast The ESO Network Patreon Unique Crafts by Jenn ESO Network Tee-Public If you would like to leave feedback or a comment on the show please feel free to email us at feedback@earthstationone.com Special Guests: Ciarán Moffatt and Mary Ogle.

The Earth Station One Rainbow Room screens the 2011 film adaptation of Thom Fitzgerald's stage play. Mike, Mike, Mary, and Ciaran Moffatt hit the road for this heartwarming and heartbreaking story starring Olympia Dukakis and Brenda Fricker. All this, along with Angela’s A Geek Girl’s Take, Ashley's Box Office Buzz, Michelle's Iconic Rock Moment, Creative … An LGBT Look At Cloudburst Read More » The post An LGBT Look At Cloudburst appeared first on The ESO Network.

Charlie MacKenzie (Mike Myers) is afraid of commitment. He finds any reason to leave a relationship until he meats butcher, Harriet (Nancy Travis), who he quickly falls for. After introducing her to his best friend Tony (Anthony LaPaglia) and his parents (Brenda Fricker and Mike Myers) he recalls a Weekly World News article about a black widow who kills on her honeymoon night. He starts to suspect Harriet after noticing too many coincidences, but Tony convinces him it is his fear of commitment acting up. He marries her anyway only to be confronted on their wedding night by his wielding sister-in-lam Rose (Amanda Plummer). Will Charlie and Harriet live happily ever after? Find out this week on Doom Generation! Support this podcast at patreon.com/doomgeneration --- Send in a voice message: https://podcasters.spotify.com/pod/show/doomgeneration/message

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- 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.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

We finally complete our mini-series on the 1980s movies released by Miramax Films in 1989, a year that included sex, lies, and videotape, and My Left Foot. ----more---- 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.   On this episode, we complete our look back at the 1980s theatrical releases for Miramax Films. And, for the final time, a reminder that we are not celebrating Bob and Harvey Weinstein, but reminiscing about the movies they had no involvement in making. We cannot talk about cinema in the 1980s without talking about Miramax, and I really wanted to get it out of the way, once and for all.   As we left Part 4, Miramax was on its way to winning its first Academy Award, Billie August's Pelle the Conquerer, the Scandinavian film that would be second film in a row from Denmark that would win for Best Foreign Language Film.   In fact, the first two films Miramax would release in 1989, the Australian film Warm Night on a Slow Moving Train and the Anthony Perkins slasher film Edge of Sanity, would not arrive in theatres until the Friday after the Academy Awards ceremony that year, which was being held on the last Wednesday in March.   Warm Nights on a Slow Moving Train stars Wendy Hughes, the talented Australian actress who, sadly, is best remembered today as Lt. Commander Nella Daren, one of Captain Jean-Luc Picard's few love interests, on a 1993 episode of Star Trek: The Next Generation, as Jenny, a prostitute working a weekend train to Sydney, who is seduced by a man on the train, unaware that he plans on tricking her to kill someone for him. Colin Friels, another great Aussie actor who unfortunately is best known for playing the corrupt head of Strack Industries in Sam Raimi's Darkman, plays the unnamed man who will do anything to get what he wants.   Director Bob Ellis and his co-screenwriter Denny Lawrence came up with the idea for the film while they themselves were traveling on a weekend train to Sydney, with the idea that each client the call girl met on the train would represent some part of the Australian male.   Funding the $2.5m film was really simple… provided they cast Hughes in the lead role. Ellis and Lawrence weren't against Hughes as an actress. Any film would be lucky to have her in the lead. They just felt she she didn't have the right kind of sex appeal for this specific character.   Miramax would open the film in six theatres, including the Cineplex Beverly Center in Los Angeles and the Fashion Village 8 in Orlando, on March 31st. There were two versions of the movie prepared, one that ran 130 minutes and the other just 91. Miramax would go with the 91 minute version of the film for the American release, and most of the critics would note how clunky and confusing the film felt, although one critic for the Village Voice would have some kind words for Ms. Hughes' performance.   Whether it was because moviegoers were too busy seeing the winners of the just announced Academy Awards, including Best Picture winner Rain Man, or because this weekend was also the opening weekend of the new Major League Baseball season, or just turned off by the reviews, attendance at the theatres playing Warm Nights on a Slow Moving Train was as empty as a train dining car at three in the morning. The Beverly Center alone would account for a third of the movie's opening weekend gross of $19,268. After a second weekend at the same six theatres pocketing just $14,382, this train stalled out, never to arrive at another station.   Their other March 31st release, Edge of Sanity, is notable for two things and only two things: it would be the first film Miramax would release under their genre specialty label, Millimeter Films, which would eventually evolve into Dimension Films in the next decade, and it would be the final feature film to star Anthony Perkins before his passing in 1992.   The film is yet another retelling of the classic 1886 Robert Louis Stevenson story The Strange Case of Doctor Jekyll and Mister Hyde, with the bonus story twist that Hyde was actually Jack the Ripper. As Jekyll, Perkins looks exactly as you'd expect a mid-fifties Norman Bates to look. As Hyde, Perkins is made to look like he's a backup keyboardist for the first Nine Inch Nails tour. Head Like a Hole would have been an appropriate song for the end credits, had the song or Pretty Hate Machine been released by that time, with its lyrics about bowing down before the one you serve and getting what you deserve.   Edge of Sanity would open in Atlanta and Indianapolis on March 31st. And like so many other Miramax releases in the 1980s, they did not initially announce any grosses for the film. That is, until its fourth weekend of release, when the film's theatre count had fallen to just six, down from the previous week's previously unannounced 35, grossing just $9,832. Miramax would not release grosses for the film again, with a final total of just $102,219.   Now when I started this series, I said that none of the films Miramax released in the 1980s were made by Miramax, but this next film would become the closest they would get during the decade.   In July 1961, John Profumo was the Secretary of State for War in the conservative government of British Prime Minister Harold Macmillan, when the married Profumo began a sexual relationship with a nineteen-year-old model named Christine Keeler. The affair was very short-lived, either ending, depending on the source, in August 1961 or December 1961. Unbeknownst to Profumo, Keeler was also having an affair with Yevgeny Ivanov, a senior naval attache at the Soviet Embassy at the same time.   No one was the wiser on any of this until December 1962, when a shooting incident involving two other men Keeler had been involved with led the press to start looking into Keeler's life. While it was never proven that his affair with Keeler was responsible for any breaches of national security, John Profumo was forced to resign from his position in June 1963, and the scandal would take down most of the Torie government with him. Prime Minister Macmillan would resign due to “health reasons” in October 1963, and the Labour Party would take control of the British government when the next elections were held in October 1964.   Scandal was originally planned in the mid-1980s as a three-part, five-hour miniseries by Australian screenwriter Michael Thomas and American music producer turned movie producer Joe Boyd. The BBC would commit to finance a two-part, three-hour miniseries,  until someone at the network found an old memo from the time of the Profumo scandal that forbade them from making any productions about it. Channel 4, which had been producing quality shows and movies for several years since their start in 1982, was approached, but rejected the series on the grounds of taste.   Palace Pictures, a British production company who had already produced three films for Neil Jordan including Mona Lisa, was willing to finance the script, provided it could be whittled down to a two hour movie. Originally budgeted at 3.2m British pounds, the costs would rise as they started the casting process.  John Hurt, twice Oscar-nominated for his roles in Midnight Express and The Elephant Man, would sign on to play Stephen Ward, a British osteopath who acted as Christine Keeler's… well… pimp, for lack of a better word. Ian McKellen, a respected actor on British stages and screens but still years away from finding mainstream global success in the X-Men movies, would sign on to play John Profumo. Joanne Whaley, who had filmed the yet to be released at that time Willow with her soon to be husband Val Kilmer, would get her first starring role as Keeler, and Bridget Fonda, who was quickly making a name for herself in the film world after being featured in Aria, would play Mandy Rice-Davies, the best friend and co-worker of Keeler's.   To save money, Palace Pictures would sign thirty-year-old Scottish filmmaker Michael Caton-Jones to direct, after seeing a short film he had made called The Riveter. But even with the neophyte feature filmmaker, Palace still needed about $2.35m to be able to fully finance the film. And they knew exactly who to go to.   Stephen Woolley, the co-founder of Palace Pictures and the main producer on the film, would fly from London to New York City to personally pitch Harvey and Bob Weinstein. Woolley felt that of all the independent distributors in America, they would be the ones most attracted to the sexual and controversial nature of the story. A day later, Woolley was back on a plane to London. The Weinsteins had agreed to purchase the American distribution rights to Scandal for $2.35m.   The film would spend two months shooting in the London area through the summer of 1988. Christine Keeler had no interest in the film, and refused to meet the now Joanne Whaley-Kilmer to talk about the affair, but Mandy Rice-Davies was more than happy to Bridget Fonda about her life, although the meetings between the two women were so secret, they would not come out until Woolley eulogized Rice-Davies after her 2014 death.   Although Harvey and Bob would be given co-executive producers on the film, Miramax was not a production company on the film. This, however, did not stop Harvey from flying to London multiple times, usually when he was made aware of some sexy scene that was going to shoot the following day, and try to insinuate himself into the film's making. At one point, Woolley decided to take a weekend off from the production, and actually did put Harvey in charge. That weekend's shoot would include a skinny-dipping scene featuring the Christine Keeler character, but when Whaley-Kilmer learned Harvey was going to be there, she told the director that she could not do the nudity in the scene. Her new husband was objecting to it, she told them. Harvey, not skipping a beat, found a lookalike for the actress who would be willing to bare all as a body double, and the scene would begin shooting a few hours later. Whaley-Kilmer watched the shoot from just behind the camera, and stopped the shoot a few minutes later. She was not happy that the body double's posterior was notably larger than her own, and didn't want audiences to think she had that much junk in her trunk. The body double was paid for her day, and Whaley-Kilmer finished the rest of the scene herself.   Caton-Jones and his editing team worked on shaping the film through the fall, and would screen his first edit of the film for Palace Pictures and the Weinsteins in November 1988. And while Harvey was very happy with the cut, he still asked the production team for a different edit for American audiences, noting that most Americans had no idea who Profumo or Keeler or Rice-Davies were, and that Americans would need to understand the story more right out of the first frame. Caton-Jones didn't want to cut a single frame, but he would work with Harvey to build an American-friendly cut.   While he was in London in November 1988, he would meet with the producers of another British film that was in pre-production at the time that would become another important film to the growth of the company, but we're not quite at that part of the story yet. We'll circle around to that film soon.   One of the things Harvey was most looking forward to going in to 1989 was the expected battle with the MPAA ratings board over Scandal. Ever since he had seen the brouhaha over Angel Heart's X rating two years earlier, he had been looking for a similar battle. He thought he had it with Aria in 1988, but he knew he definitely had it now.   And he'd be right.   In early March, just a few weeks before the film's planned April 21st opening day, the MPAA slapped an X rating on Scandal. The MPAA usually does not tell filmmakers or distributors what needs to be cut, in order to avoid accusations of actual censorship, but according to Harvey, they told him exactly what needed to be cut to get an R: a two second shot during an orgy scene, where it appears two background characters are having unsimulated sex.   So what did Harvey do?   He spent weeks complaining to the press about MPAA censorship, generating millions in free publicity for the film, all the while already having a close-up shot of Joanne Whaley-Kilmer's Christine Keeler watching the orgy but not participating in it, ready to replace the objectionable shot.   A few weeks later, Miramax screened the “edited” film to the MPAA and secured the R rating, and the film would open on 94 screens, including 28 each in the New York City and Los Angeles metro regions, on April 28th.   And while the reviews for the film were mostly great, audiences were drawn to the film for the Miramax-manufactured controversy as well as the key art for the film, a picture of a potentially naked Joanne Whaley-Kilmer sitting backwards in a chair, a mimic of a very famous photo Christine Keeler herself took to promote a movie about the Profumo affair she appeared in a few years after the events. I'll have a picture of both the Scandal poster and the Christine Keeler photo on this episode's page at The80sMoviePodcast.com   Five other movies would open that weekend, including the James Belushi comedy K-9 and the Kevin Bacon drama Criminal Law, and Scandal, with $658k worth of ticket sales, would have the second best per screen average of the five new openers, just a few hundred dollars below the new Holly Hunter movie Miss Firecracker, which only opened on six screens.   In its second weekend, Scandal would expand its run to 214 playdates, and make its debut in the national top ten, coming in tenth place with $981k. That would be more than the second week of the Patrick Dempsey rom-com Loverboy, even though Loverboy was playing on 5x as many screens.   In weekend number three, Scandal would have its best overall gross and top ten placement, coming in seventh with $1.22m from 346 screens. Scandal would start to slowly fade after that, falling back out of the top ten in its sixth week, but Miramax would wisely keep the screen count under 375, because Scandal wasn't going to play well in all areas of the country. After nearly five months in theatres, Miramax would have its biggest film to date. Scandal would gross $8.8m.   The second release from Millimeter Films was The Return of the Swamp Thing. And if you needed a reason why the 1980s was not a good time for comic book movies, here you are. The Return of the Swamp Thing took most of what made the character interesting in his comic series, and most of what was good from the 1982 Wes Craven adaptation, and decided “Hey, you know what would bring the kids in? Camp! Camp unseen in a comic book adaptation since the 1960s Batman series. They loved it then, they'll love it now!”   They did not love it now.   Heather Locklear, between her stints on T.J. Hooker and Melrose Place, plays the step-daughter of Louis Jourdan's evil Dr. Arcane from the first film, who heads down to the Florida swaps to confront dear old once presumed dead stepdad. He in turns kidnaps his stepdaughter and decides to do some of his genetic experiments on her, until she is rescued by Swamp Thing, one of Dr. Arcane's former co-workers who got turned into the gooey anti-hero in the first movie.   The film co-stars Sarah Douglas from Superman 1 and 2 as Dr. Arcane's assistant, Dick Durock reprising his role as Swamp Thing from the first film, and 1980s B-movie goddess Monique Gabrielle as Miss Poinsettia.   For director Jim Wynorski, this was his sixth movie as a director, and at $3m, one of the highest budgeted movies he would ever make. He's directed 107 movies since 1984, most of them low budget direct to video movies with titles like The Bare Wench Project and Alabama Jones and the Busty Crusade, although he does have one genuine horror classic under his belt, the 1986 sci-fi tinged Chopping Maul with Kelli Maroney and Barbara Crampton.   Wynorski suggested in a late 1990s DVD commentary for the film that he didn't particularly enjoy making the film, and had a difficult time directing Louis Jourdan, to the point that outside of calling “action” and “cut,” the two didn't speak to each other by the end of the shoot.   The Return of Swamp Thing would open in 123 theatres in the United States on May 12th, including 28 in the New York City metro region, 26 in the Los Angeles area, 15 in Detroit, and a handful of theatres in Phoenix, San Francisco. And, strangely, the newspaper ads would include an actual positive quote from none other than Roger Ebert, who said on Siskel & Ebert that he enjoyed himself, and that it was good to have Swamp Thing back. Siskel would not reciprocate his balcony partner's thumb up. But Siskel was about the only person who was positive on the return of Swamp Thing, and that box office would suffer. In its first three days, the film would gross just $119,200. After a couple more dismal weeks in theatres, The Return of Swamp Thing would be pulled from distribution, with a final gross of just $275k.   Fun fact: The Return of Swamp Thing was produced by Michael E. Uslan, whose next production, another adaptation of a DC Comics character, would arrive in theatres not six weeks later and become the biggest film of the summer. In fact, Uslan has been a producer or executive producer on every Batman-related movie and television show since 1989, from Tim Burton to Christopher Nolan to Zack Snyder to Matt Reeves, and from LEGO movies to Joker. He also, because of his ownership of the movie rights to Swamp Thing, got the movie screen rights, but not the television screen rights, to John Constantine.   Miramax didn't have too much time to worry about The Return of Swamp Thing's release, as it was happening while the Brothers Weinstein were at the 1989 Cannes Film Festival. They had two primary goals at Cannes that year:   To buy American distribution rights to any movie that would increase their standing in the cinematic worldview, which they would achieve by picking up an Italian dramedy called, at the time, New Paradise Cinema, which was competing for the Palme D'Or with a Miramax pickup from Sundance back in January. Promote that very film, which did end up winning the Palme D'Or.   Ever since he was a kid, Steven Soderbergh wanted to be a filmmaker. Growing up in Baton Rouge, LA in the late 1970s, he would enroll in the LSU film animation class, even though he was only 15 and not yet a high school graduate. After graduating high school, he decided to move to Hollywood to break into the film industry, renting an above-garage room from Stephen Gyllenhaal, the filmmaker best known as the father of Jake and Maggie, but after a few freelance editing jobs, Soderbergh packed up his things and headed home to Baton Rouge.   Someone at Atco Records saw one of Soderbergh's short films, and hired him to direct a concert movie for one of their biggest bands at the time, Yes, who was enjoying a major comeback thanks to their 1983 triple platinum selling album, 90125. The concert film, called 9012Live, would premiere on MTV in late 1985, and it would be nominated for a Grammy Award for Best Long Form Music Video.   Soderbergh would use the money he earned from that project, $7,500, to make Winston, a 12 minute black and white short about sexual deception that he would, over the course of an eight day driving trip from Baton Rouge to Los Angeles, expand to a full length screen that he would call sex, lies and videotape. In later years, Soderbergh would admit that part of the story is autobiographical, but not the part you might think. Instead of the lead, Graham, an impotent but still sexually perverse late twentysomething who likes to tape women talking about their sexual fantasies for his own pleasure later, Soderbergh based the husband John, the unsophisticated lawyer who cheats on his wife with her sister, on himself, although there would be a bit of Graham that borrows from the filmmaker. Like his lead character, Soderbergh did sell off most of his possessions and hit the road to live a different life.   When he finished the script, he sent it out into the wilds of Hollywood. Morgan Mason, the son of actor James Mason and husband of Go-Go's lead singer Belinda Carlisle, would read it and sign on as an executive producer. Soderbergh had wanted to shoot the film in black and white, like he had with the Winston short that lead to the creation of this screenplay, but he and Mason had trouble getting anyone to commit to the project, even with only a projected budget of $200,000. For a hot moment, it looked like Universal might sign on to make the film, but they would eventually pass.   Robert Newmyer, who had left his job as a vice president of production and acquisitions at Columbia Pictures to start his own production company, signed on as a producer, and helped to convince Soderbergh to shoot the film in color, and cast some name actors in the leading roles. Once he acquiesced, Richard Branson's Virgin Vision agreed to put up $540k of the newly budgeted $1.2m film, while RCA/Columbia Home Video would put up the remaining $660k.   Soderbergh and his casting director, Deborah Aquila, would begin their casting search in New York, where they would meet with, amongst others, Andie MacDowell, who had already starred in two major Hollywood pictures, 1984's Greystoke: The Legend of Tarzan, Lord of the Apes, and 1985's St. Elmo's Fire, but was still considered more of a top model than an actress, and Laura San Giacomo, who had recently graduated from the Carnegie Mellon School of Drama in Pittsburgh and would be making her feature debut. Moving on to Los Angeles, Soderbergh and Aquila would cast James Spader, who had made a name for himself as a mostly bad guy in 80s teen movies like Pretty in Pink and Less Than Zero, but had never been the lead in a drama like this. At Spader's suggestion, the pair met with Peter Gallagher, who was supposed to become a star nearly a decade earlier from his starring role in Taylor Hackford's The Idolmaker, but had mostly been playing supporting roles in television shows and movies for most of the decade.   In order to keep the budget down, Soderbergh, the producers, cinematographer Walt Lloyd and the four main cast members agreed to get paid their guild minimums in exchange for a 50/50 profit participation split with RCA/Columbia once the film recouped its costs.   The production would spend a week in rehearsals in Baton Rouge, before the thirty day shoot began on August 1st, 1988. On most days, the shoot was unbearable for many, as temperatures would reach as high as 110 degrees outside, but there were a couple days lost to what cinematographer Lloyd said was “biblical rains.” But the shoot completed as scheduled, and Soderbergh got to the task of editing right away. He knew he only had about eight weeks to get a cut ready if the film was going to be submitted to the 1989 U.S. Film Festival, now better known as Sundance. He did get a temporary cut of the film ready for submission, with a not quite final sound mix, and the film was accepted to the festival. It would make its world premiere on January 25th, 1989, in Park City UT, and as soon as the first screening was completed, the bids from distributors came rolling in. Larry Estes, the head of RCA/Columbia Home Video, would field more than a dozen submissions before the end of the night, but only one distributor was ready to make a deal right then and there.   Bob Weinstein wasn't totally sold on the film, but he loved the ending, and he loved that the word “sex” not only was in the title but lead the title. He knew that title alone would sell the movie. Harvey, who was still in New York the next morning, called Estes to make an appointment to meet in 24 hours. When he and Estes met, he brought with him three poster mockups the marketing department had prepared, and told Estes he wasn't going to go back to New York until he had a contract signed, and vowed to beat any other deal offered by $100,000. Island Pictures, who had made their name releasing movies like Stop Making Sense, Kiss of the Spider-Woman, The Trip to Bountiful and She's Gotta Have It, offered $1m for the distribution rights, plus a 30% distribution fee and a guaranteed $1m prints and advertising budget. Estes called Harvey up and told him what it would take to make the deal. $1.1m for the distribution rights, which needed to paid up front, a $1m P&A budget, to be put in escrow upon the signing of the contract until the film was released, a 30% distribution fee, no cutting of the film whatsoever once Soderbergh turns in his final cut, they would need to provide financial information for the films costs and returns once a month because of the profit participation contracts, and the Weinsteins would have to hire Ira Deutchman, who had spent nearly 15 years in the independent film world, doing marketing for Cinema 5, co-founding United Artists Classics, and co-founding Cinecom Pictures before opening his own company to act as a producers rep and marketer. And the Weinsteins would not only have to do exactly what Deutchman wanted, they'd have to pay for his services too.   The contract was signed a few weeks later.   The first move Miramax would make was to get Soderbergh's final cut of the film entered into the Cannes Film Festival, where it would be accepted to compete in the main competition. Which you kind of already know what happened, because that's what I lead with. The film would win the Palme D'Or, and Spader would be awarded the festival's award for Best Actor. It was very rare at the time, and really still is, for any film to be awarded more than one prize, so winning two was really a coup for the film and for Miramax, especially when many critics attending the festival felt Spike Lee's Do the Right Thing was the better film.   In March, Miramax expected the film to make around $5-10m, which would net the company a small profit on the film. After Cannes, they were hopeful for a $15m gross.   They never expected what would happen next.   On August 4th, sex, lies, and videotape would open on four screens, at the Cinema Studio in New York City, and at the AMC Century 14, the Cineplex Beverly Center 13 and the Mann Westwood 4 in Los Angeles. Three prime theatres and the best they could do in one of the then most competitive zones in all America. Remember, it's still the Summer 1989 movie season, filled with hits like Batman, Dead Poets Society, Ghostbusters 2, Indiana Jones and the Last Crusade, Honey I Shrunk the Kids, Lethal Weapon 2, Parenthood, Turner & Hooch, and When Harry Met Sally. An independent distributor even getting one screen at the least attractive theatre in Westwood was a major get. And despite the fact that this movie wasn't really a summertime movie per se, the film would gross an incredible $156k in its first weekend from just these four theatres. Its nearly $40k per screen average would be 5x higher than the next closest film, Parenthood.   In its second weekend, the film would expand to 28 theatres, and would bring in over $600k in ticket sales, its per screen average of $21,527 nearly triple its closest competitor, Parenthood again. The company would keep spending small, as it slowly expanded the film each successive week. Forty theatres in its third week, and 101 in its fourth. The numbers held strong, and in its fifth week, Labor Day weekend, the film would have its first big expansion, playing in 347 theatres. The film would enter the top ten for the first time, despite playing in 500 to 1500 fewer theatres than the other films in the top ten. In its ninth weekend, the film would expand to its biggest screen count, 534, before slowly drawing down as the other major Oscar contenders started their theatrical runs. The film would continue to play through the Oscar season of 1989, and when it finally left theatres in May 1989, its final gross would be an astounding $24.7m.   Now, remember a few moments ago when I said that Miramax needed to provide financial statements every month for the profit participation contracts of Soderbergh, the producers, the cinematographer and the four lead actors? The film was so profitable for everyone so quickly that RCA/Columbia made its first profit participation payouts on October 17th, barely ten weeks after the film's opening.   That same week, Soderbergh also made what was at the time the largest deal with a book publisher for the writer/director's annotated version of the screenplay, which would also include his notes created during the creation of the film. That $75,000 deal would be more than he got paid to make the movie as the writer and the director and the editor, not counting the profit participation checks.   During the awards season, sex, lies, and videotape was considered to be one of the Oscars front runners for Best Picture, Best Director, Best Screenplay and at least two acting nominations. The film would be nominated for Best Picture, Best Actress and Best Supporting Actress by the Golden Globes, and it would win the Spirit Awards for Best Picture, Soderbergh for Best Director, McDowell for Best Actress, and San Giacomo for Best Supporting Actress. But when the Academy Award nominations were announced, the film would only receive one nomination, for Best Original Screenplay. The same total and category as Spike Lee's Do the Right Thing, which many people also felt had a chance for a Best Picture and Best Director nomination. Both films would lose out to Tom Shulman's screenplay for Dead Poet's Society.   The success of sex, lies, and videotape would launch Steven Soderbergh into one of the quirkiest Hollywood careers ever seen, including becoming the first and only director ever to be nominated twice for Best Director in the same year by the Motion Picture Academy, the Golden Globes and the Directors Guild of America, in 2001 for directing Erin Brockovich and Traffic. He would win the Oscar for directing Traffic.   Lost in the excitement of sex, lies, and videotape was The Little Thief, a French movie that had an unfortunate start as the screenplay François Truffaut was working on when he passed away in 1984 at the age of just 52.   Directed by Claude Miller, whose principal mentor was Truffaut, The Little Thief starred seventeen year old Charlotte Gainsbourg as Janine, a young woman in post-World War II France who commits a series of larcenies to support her dreams of becoming wealthy.   The film was a modest success in France when it opened in December 1988, but its American release date of August 25th, 1989, was set months in advance. So when it was obvious sex, lies, and videotape was going to be a bigger hit than they originally anticipated, it was too late for Miramax to pause the release of The Little Thief.   Opening at the Lincoln Plaza Cinemas in New York City, and buoyed by favorable reviews from every major critic in town, The Little Thief would see $39,931 worth of ticket sales in its first seven days, setting a new house record at the theatre for the year. In its second week, the gross would only drop $47. For the entire week. And when it opened at the Royal Theatre in West Los Angeles, its opening week gross of $30,654 would also set a new house record for the year.   The film would expand slowly but surely over the next several weeks, often in single screen playdates in major markets, but it would never play on more than twenty-four screens in any given week. And after four months in theatres, The Little Thief, the last movie created one of the greatest film writers the world had ever seen, would only gross $1.056m in the United States.   The next three releases from Miramax were all sent out under the Millimeter Films banner.   The first, a supernatural erotic drama called The Girl in a Swing, was about an English antiques dealer who travels to Copenhagen where he meets and falls in love with a mysterious German-born secretary, whom he marries, only to discover a darker side to his new bride. Rupert Frazer, who played Christian Bale's dad in Steven Spielberg's Empire of the Sun, plays the antique dealer, while Meg Tilly the mysterious new bride.   Filmed over a five week schedule in London and Copenhagen during May and June 1988, some online sources say the film first opened somewhere in California in December 1988, but I cannot find a single theatre not only in California but anywhere in the United States that played the film before its September 29th, 1989 opening date.   Roger Ebert didn't like the film, and wished Meg Tilly's “genuinely original performance” was in a better movie. Opening in 26 theatres, including six theatres each in New York City and Los Angeles, and spurred on by an intriguing key art for the film that featured a presumed naked Tilly on a swing looking seductively at the camera while a notice underneath her warns that No One Under 18 Will Be Admitted To The Theatre, The Girl in a Swing would gross $102k, good enough for 35th place nationally that week. And that's about the best it would do. The film would limp along, moving from market to market over the course of the next three months, and when its theatrical run was complete, it could only manage about $747k in ticket sales.   We'll quickly burn through the next two Millimeter Films releases, which came out a week apart from each other and didn't amount to much.   Animal Behavior was a rather unfunny comedy featuring some very good actors who probably signed on for a very different movie than the one that came to be. Karen Allen, Miss Marion Ravenwood herself, stars as Alex, a biologist who, like Dr. Jane Goodall, develops a “new” way to communicate with chimpanzees via sign language. Armand Assante plays a cellist who pursues the good doctor, and Holly Hunter plays the cellist's neighbor, who Alex mistakes for his wife.   Animal Behavior was filmed in 1984, and 1985, and 1987, and 1988. The initial production was directed by Jenny Bowen with the assistance of Robert Redford and The Sundance Institute, thanks to her debut film, 1981's Street Music featuring Elizabeth Daily. It's unknown why Bowen and her cinematographer husband Richard Bowen left the project, but when filming resumed again and again and again, those scenes were directed by the film's producer, Kjehl Rasmussen.   Because Bowen was not a member of the DGA at the time, she was not able to petition the guild for the use of the Alan Smithee pseudonym, a process that is automatically triggered whenever a director is let go of a project and filming continues with its producer taking the reigns as director. But she was able to get the production to use a pseudonym anyway for the director's credit, H. Anne Riley, while also giving Richard Bowen a pseudonym of his own for his work on the film, David Spellvin.   Opening on 24 screens on October 27th, Animal Behavior would come in 50th place in its opening weekend, grossing just $20,361. The New York film critics ripped the film apart, and there wouldn't be a second weekend for the film.   The following Friday, November 3rd, saw the release of The Stepfather II, a rushed together sequel to 1987's The Stepfather, which itself wasn't a big hit in theatres but found a very quick and receptive audience on cable.   Despite dying at the end of the first film, Terry O'Quinn's Jerry is somehow still alive, and institutionalized in Northern Washington state. He escapes and heads down to Los Angeles, where he assumes the identity of a recently deceased publisher, Gene Clifford, but instead passes himself off as a psychiatrist. Jerry, now Gene, begins to court his neighbor Carol, and the whole crazy story plays out again. Meg Foster plays the neighbor Carol, and Jonathan Brandis is her son.    Director Jeff Burr had made a name for himself with his 1987 horror anthology film From a Whisper to a Scream, featuring Vincent Price, Clu Gulager and Terry Kiser, and from all accounts, had a very smooth shooting process with this film. The trouble began when he turned in his cut to the producers. The producers were happy with the film, but when they sent it to Miramax, the American distributors, they were rather unhappy with the almost bloodless slasher film. They demanded reshoots, which Burr and O'Quinn refused to participate in. They brought in a new director, Doug Campbell, to handle the reshoots, which are easy to spot in the final film because they look and feel completely different from the scenes they're spliced into.   When it opened, The Stepfather II actually grossed slightly more than the first film did, earning $279k from 100 screens, compared to $260k for The Stepfather from 105 screens. But unlike the first film, which had some decent reviews when it opened, the sequel was a complete mess. To this day, it's still one of the few films to have a 0% approval rating on Rotten Tomatoes, and The Stepfather II would limp its way through theatres during the Christmas holiday season, ending its run with a $1.5m gross.   But it would be their final film of the decade that would dictate their course for at least the first part of the 1990s.   Remember when I said earlier in the episode that Harvey Weinstein meant with the producers of another British film while in London for Scandal? We're at that film now, a film you probably know.   My Left Foot.   By November 1988, actor Daniel Day-Lewis had starred in several movies including James Ivory's A Room With a View and Philip Kaufman's The Unbearable Lightness of Being. He had even been the lead in a major Hollywood studio film, Pat O'Connor's Stars and Bars, a very good film that unfortunately got caught up in the brouhaha over the exit of the studio head who greenlit the film, David Puttnam.   The film's director, Jim Sheridan, had never directed a movie before. He had become involved in stage production during his time at the University College in Dublin in the late 1960s, where he worked with future filmmaker Neil Jordan, and had spent nearly a decade after graduation doing stage work in Ireland and Canada, before settling in New York City in the early 1980s. Sheridan would go to New York University's Tisch School of the Arts, where one of his classmates was Spike Lee, and return to Ireland after graduating. He was nearly forty, married with two pre-teen daughters, and he needed to make a statement with his first film.   He would find that story in the autobiography of Irish writer and painter Christy Brown, whose spirit and creativity could not be contained by his severe cerebral palsy. Along with Irish actor and writer Shane Connaughton, Sheridan wrote a screenplay that could be a powerhouse film made on a very tight budget of less than a million dollars.   Daniel Day-Lewis was sent a copy of the script, in the hopes he would be intrigued enough to take almost no money to play a physically demanding role. He read the opening pages, which had the adult Christy Brown putting a record on a record player and dropping the needle on to the record with his left foot, and thought to himself it would be impossible to film. That intrigued him, and he signed on. But during filming in January and February of 1989, most of the scenes were shot using mirrors, as Day-Lewis couldn't do the scenes with his left foot. He could do them with his right foot, hence the mirrors.   As a method actor, Day-Lewis remained in character as Christy Brown for the entire two month shoot. From costume fittings and makeup in the morning, to getting the actor on set, to moving him around between shots, there were crew members assigned to assist the actor as if they were Christy Brown's caretakers themselves, including feeding him during breaks in shooting. A rumor debunked by the actor years later said Day-Lewis had broken two ribs during production because of how hunched down he needed to be in his crude prop wheelchair to properly play the character.   The actor had done a lot of prep work to play the role, including spending time at the Sandymount School Clinic where the young Christy Brown got his education, and much of his performance was molded on those young people.   While Miramax had acquired the American distribution rights to the film before it went into production, and those funds went into the production of the film, the film was not produced by Miramax, nor were the Weinsteins given any kind of executive producer credit, as they were able to get themselves on Scandal.   My Left Foot would make its world premiere at the Montreal World Film Festival on September 4th, 1989, followed soon thereafter by screening at the Toronto International Film Festival on September 13th and the New York Film Festival on September 23rd. Across the board, critics and audiences were in love with the movie, and with Daniel Day-Lewis's performance. Jim Sheridan would receive a special prize at the Montreal World Film Festival for his direction, and Day-Lewis would win the festival's award for Best Actor. However, as the film played the festival circuit, another name would start to pop up. Brenda Fricker, a little known Irish actress who played Christy Brown's supportive but long-suffering mother Bridget, would pile up as many positive notices and awards as Day-Lewis. Although there was no Best Supporting Actress Award at the Montreal Film Festival, the judges felt her performance was deserving of some kind of attention, so they would create a Special Mention of the Jury Award to honor her.   Now, some sources online will tell you the film made its world premiere in Dublin on February 24th, 1989, based on a passage in a biography about Daniel Day-Lewis, but that would be impossible as the film would still be in production for two more days, and wasn't fully edited or scored by then.   I'm not sure when it first opened in the United Kingdom other than sometime in early 1990, but My Left Foot would have its commercial theatre debut in America on November 10th, when opened at the Lincoln Plaza Cinemas in New York City and the Century City 14 in Los Angeles. Sheila Benson of the Los Angeles Times would, in the very opening paragraph of her review, note that one shouldn't see My Left Foot for some kind of moral uplift or spiritual merit badge, but because of your pure love of great moviemaking. Vincent Canby's review in the New York Times spends most of his words praising Day-Lewis and Sheridan for making a film that is polite and non-judgmental.    Interestingly, Miramax went with an ad campaign that completely excluded any explanation of who Christy Brown was or why the film is titled the way it is. 70% of the ad space is taken from pull quotes from many of the top critics of the day, 20% with the title of the film, and 10% with a picture of Daniel Day-Lewis, clean shaven and full tooth smile, which I don't recall happening once in the movie, next to an obviously added-in picture of one of his co-stars that is more camera-friendly than Brenda Fricker or Fiona Shaw.   Whatever reasons people went to see the film, they flocked to the two theatres playing the film that weekend. It's $20,582 per screen average would be second only to Kenneth Branagh's Henry V, which had opened two days earlier, earning slightly more than $1,000 per screen than My Left Foot.   In week two, My Left Foot would gross another $35,133 from those two theatres, and it would overtake Henry V for the highest per screen average. In week three, Thanksgiving weekend, both Henry V and My Left Foot saw a a double digit increase in grosses despite not adding any theatres, and the latter film would hold on to the highest per screen average again, although the difference would only be $302. And this would continue for weeks. In the film's sixth week of release, it would get a boost in attention by being awarded Best Film of the Year by the New York Film Critics Circle. Daniel Day-Lewis would be named Best Actor that week by both the New York critics and the Los Angeles Film Critics Association, while Fricker would win the Best Supporting Actress award from the latter group.   But even then, Miramax refused to budge on expanding the film until its seventh week of release, Christmas weekend, when My Left Foot finally moved into cities like Chicago and San Francisco. Its $135k gross that weekend was good, but it was starting to lose ground to other Oscar hopefuls like Born on the Fourth of July, Driving Miss Daisy, Enemies: A Love Story, and Glory.   And even though the film continued to rack up award win after award win, nomination after nomination, from the Golden Globes and the Writers Guild and the National Society of Film Critics and the National Board of Review, Miramax still held firm on not expanding the film into more than 100 theatres nationwide until its 16th week in theatres, February 16th, 1990, two days after the announcement of the nominees for the 62nd Annual Academy Awards. While Daniel Day-Lewis's nomination for Best Actor was virtually assured and Brenda Fricker was practically a given, the film would pick up three other nominations, including surprise nominations for Best Picture and Best Director. Jim Sheridan and co-writer Shane Connaughton would also get picked for Best Adapted Screenplay.   Miramax also picked up a nomination for Best Original Screenplay for sex, lies, and videotape, and a Best Foreign Language Film nod for the Italian movie Cinema Paradiso, which, thanks to the specific rules for that category, a film could get a nomination before actually opening in theatres in America, which Miramax would rush to do with Paradiso the week after its nomination was announced.   The 62nd Academy Awards ceremony would be best remembered today as being the first Oscar show to be hosted by Billy Crystal, and for being considerably better than the previous year's ceremony, a mess of a show best remembered as being the one with a 12 minute opening musical segment that included Rob Lowe singing Proud Mary to an actress playing Snow White and another nine minute musical segment featuring a slew of expected future Oscar winners that, to date, feature exact zero Oscar nominees, both which rank as amongst the worst things to ever happen to the Oscars awards show.   The ceremony, held on March 26th, would see My Left Foot win two awards, Best Actor and Best Supporting Actress, as well as Cinema Paradiso for Best Foreign Film. The following weekend, March 30th, would see Miramax expand My Left Foot to 510 theatres, its widest point of release, and see the film made the national top ten and earn more than a million dollars for its one and only time during its eight month run.   The film would lose steam pretty quickly after its post-win bump, but it would eek out a modest run that ended with $14.75m in ticket sales just in the United States. Not bad for a little Irish movie with no major stars that cost less than a million dollars to make.   Of course, the early 90s would see Miramax fly to unimagined heights. In all of the 80s, Miramax would release 39 movies. They would release 30 films alone in 1991. They would release the first movies from Jean-Pierre Jeunet, Quentin Tarantino and Kevin Smith. They'd release some of the best films from some of the best filmmakers in the world, including Woody Allen, Pedro Almadovar, Robert Altman, Bernardo Bertolucci, Atom Egoyan, Steven Frears, Peter Greenaway, Peter Jackson, Neil Jordan, Chen Kaige, Krzysztof Kieślowski, Lars von Trier, and Zhang Yimou. In 1993, the Mexican dramedy Like Water for Chocolate would become the highest grossing foreign language film ever released in America, and it would play in some theatres, including my theatre, the NuWilshire in Santa Monica, continuously for more than a year.   If you've listened to the whole series on the 1980s movies of Miramax Films, there are two things I hope you take away. First, I hope you discovered at least one film you hadn't heard of before and you might be interested in searching out. The second is the reminder that neither Bob nor Harvey Weinstein will profit in any way if you give any of the movies talked about in this series a chance. They sold Miramax to Disney in June 1993. They left Miramax in September 2005. Many of the contracts for the movies the company released in the 80s and 90s expired decades ago, with the rights reverting back to their original producers, none of whom made any deals with the Weinsteins once they got their rights back.   Harvey Weinstein is currently serving a 23 year prison sentence in upstate New York after being found guilty in 2020 of two sexual assaults. Once he completes that sentence, he'll be spending another 16 years in prison in California, after he was convicted of three sexual assaults that happened in Los Angeles between 2004 and 2013. And if the 71 year old makes it to 107 years old, he may have to serve time in England for two sexual assaults that happened in August 1996. That case is still working its way through the British legal system.   Bob Weinstein has kept a low profile since his brother's proclivities first became public knowledge in October 2017, although he would also be accused of sexual harassment by a show runner for the brothers' Spike TV-aired adaptation of the Stephen King novel The Mist, several days after the bombshell articles came out about his brother. However, Bob's lawyer, the powerful attorney to the stars Bert Fields, deny the allegations, and it appears nothing has occurred legally since the accusations were made.   A few weeks after the start of the MeToo movement that sparked up in the aftermath of the accusations of his brother's actions, Bob Weinstein denied having any knowledge of the nearly thirty years of documented sexual abuse at the hands of his brother, but did allow to an interviewer for The Hollywood Reporter that he had barely spoken to Harvey over the previous five years, saying he could no longer take Harvey's cheating, lying and general attitude towards everyone.   And with that, we conclude our journey with Miramax Films. While I am sure Bob and Harvey will likely pop up again in future episodes, they'll be minor characters at best, and we'll never have to focus on anything they did ever again.   Thank you for joining us. We'll talk again soon, when Episode 119 is released.   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.

Sit-up Britain! Grab your turkey curry, it's time to discuss Bridget Jones's Diary (2001). Discussion Points: -Bridget Jones sell-by-date. -Peppa's Pig attitude. -Lou and Marv again mix with the stars. -Vile Richard. -Anybody who says the phrase "Does nothing work outside of London" raises red flag to Sean. -Jellyfisher alert! -The Bridget Cinematic Universe (BCU). -Hugh Grant and why he declined appearing in the third installment of the BCU. -Sir Trevor McDonald V Walter Cronkite. Raised Questions: -Do you find this job worse than a job wiping someone's ar*e? -Is this film more for women? -Is it charitable to take Marv and his skirt out and try and fan it up a bit? -Is Kafka's motorbike the greatest novel of our time? -Do you sympathise with being single at a couples dinner party? -Do you find relatable at all? -Has Zellweger been typcast? Random Recommendations: -Bridget Jones: The Edge of Reason (2004). -Bridget Jones's Baby (2016). -Me, Myself and Irene (2000). -Morning Glory (2010). -Home Alone 2: Lost in New York (1992)-with Brenda Fricker, not Brenda Blethyn. -Romancing the Stone (1984). -The Jewel of the Nile (1985). -Sleeping with the Enemy (1991). Lou's Recommendations: -New In Town (2009). -Something Gotta Give (2003). -Leap Year (2010). -My Big Fat Greek Wedding (2002). -The Time Traveller's Wife (2009). -Six Days, Seven Nights (1998). Thanks for Listening! *Apologies for the background noise during parts of this episode* Trailer: FilmFloggers: www.filmfloggers.com Review It Yourself now has a Patreon! Choose from TWO memberships: -'Nowt Special' Side Series: This 'Nowt Special' tier gives you Exclusive Access to a (ANOTHER) side-series in which Sean watches older, classic films.... + other benefits. -Rewatch It Yourself: +All the benefits of the 'Nowt Special' tier PLUS -An even-more exclusive series, where Sean takes you through every Zombie film he owns (there's quite a few). Find us here: Patreon: https://www.patreon.com/review_it_yourself21 Twitter: @YourselfReview Instagram: reviewityourselfpodcast2021

Tonight we continue The Seven Ages of Man season with The Soldier by Mannix Flynn and starring Brenda Fricker.

Tonight we continue The Seven Ages of Man season with The Soldier by Mannix Flynn and starring Brenda Fricker.

Movie Miss is joined by returning special guest Mike, her husband (The Punisher & Howard the Duck episodes) to discuss the "turkey" So, I Married An Axe Murderer (1993). Starring Mike Myers, Nancy Travis, Anthony LaPaglia & Brenda Fricker. *SPOILERS DUH* At the time of this episode release you can WATCH SO, I MARRIED AN AXE MURDERER HERE: Amazon Prime & HBO Max. Be part of our fun bad movie conversations (We Want To Interact With You & Hear Your Thoughts!) by following both our facebook discussion group & our official page Let's Talk Turkeys, on Instagram at letstalkturkeys (all one word), email us directly at letstalkturkeys@yahoo.com, we're on Twitter @gobblepodcast & check us out on Wordpress at https://letstalkturkeys150469722.wordpress.com/ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/lets-talk-turkeys/message Support this podcast: https://anchor.fm/lets-talk-turkeys/support

On our final episode of 2022, the gang welcomes Chelsea Jupin back to the show to chat about the beloved, Christmas cookie-cutter sequel, Home Alone 2: Lost in New York! How successful of an arms dealer must Uncle Rob McCallister be to afford this Upper West Side townhouse? Would it have been a better movie if the hotel staff entirely replaced the Sticky Bandits? Why couldn't they mix up the story a little bit so it's not just a carbon copy of part one set in NYC? And what's with that Uncle Frank crotch comment? PLUS: Snooty UWS residents band together Spider-Man-style to fight the holiday evil that is Kevin McCallister! Home Alone 2: Lost in New York stars Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Kieran Culkin, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Sweet Robbie Schneider, and Gerry Bamman as Uncle Frank; directed by Chris Columbus.  Check out the WHM Merch Store featuring new SW Crispy Critters, MINGO!, WHAT IF Donna? & Mortal Kombat designs! This episode is brought to you by BetterHelp. Give online therapy a try at betterhelp.com/whm and get on your way to being your best self. Advertise on We Hate Movies via Gumball.fmUnlock Exclusive Content!: http://www.patreon.com/wehatemoviesSee omnystudio.com/listener for privacy information.

Special Guest, The Godfather, John Flack, joins your hosts Lizzy Haynes and Russell Guest for the Retro Movie Roundtable as they revisit Home Alone 2: Lost In New York (1992) [PG] Genre: Comedy, Christmas, Action, Adventure, Crime, Family Starring: Macaulay Culkin, Joe Pesci, Daniel Stern, Catherine O'Hara, John Heard, Devin Ratray, Hillary Wolf, Maureen Elisabeth Shay, Michael C. Maronna , Gerry Bamman, Terrie Snell, Jedidiah Cohen, Senta Moses, Diana Rein, Kieran Culkin , Anna Slotky, Tim Curry, Brenda Fricker, Eddie Bracken, Dana Ivey, Rob Schneider   Director: Chris Columbus Recorded on 2022-11-28

Episode 1 of our 2022 Christmas Movies

Live from the Omniplex its the 2nd Christmas Watch Party, this year Home Alone 2: Lost In New York.Oh this was a fun one! We cheer Kevin, booo Uncle Frank and sing Olé Olé Olé when Brenda Fricker is on screen. Thank you again to our sponsor Omniplex for having us.Go see Avatar 2 there!

It's that time of year again where we clean the dust off of the VHS player and boot up the Disney Plus. As the old adage goes, two strikes and you're out. Now Jess will "All Too Well" 10min Taylor's version, Tim Curry for breaking Brenda Fricker's heart.

In the year that 'Home Alone 2: Lost in New York' celebrates it's 30th Anniversary, the Irish actress Brenda Fricker joined Kieran on The Hard Shoulder to discuss her Oscar, filming in New York and meeting Donald Trump...  

In this week's special episode David, John and Kyle discuss and break down the 1992 Christmas family comedy film Home Alone 2: Lost in New York in celebration of the film's 30th anniversary. We break down the film scene by scene, discuss some behind the scenes facts and decide who was tortured by Kevin more this time: Marv or Harry. Directed by Chris Columbus, Home Alone 2 was released November 20th 1992 by 20th Century Fox and stars Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Tim Curry, Brenda Fricker and Catherine O'Hara. This episode was originally recorded on November 21st on and can be replayed on YouTube. You can also listen to past movie podcast specials including our Home Alone 1 podcast by clicking either link. Be sure to subscribe to the podcast and follow us on social media! 

Clinton Liberty has a fabulous name made for the big screen. He currently plays Linus Dunne in the TV adaptation of Graham Norton's book ‘Holding' and the Meath Actor has raised much praise for his assured performance alongside a star-studded cast including Oscar-winning Brenda Fricker, Charlene McKenna, Siobhán McSweeney and Conleth Hill. Alison Curtis on Weekend Breakfast spoke to this fast rising star about his big break and also starring in Disney + blockbuster show Red Election. Plus, can he nail the Canadian accent!!? "ay!" Holding airs on Monday nights at 9pm on Virgin Media One. Catch up is available on the Virgin Media Player.

This week Jackie and Danielle are taking on the 1997 hacker flick Masterminds. Expelled for playing tech-savvy gags on his teachers, teenage computer wiz Ozzie Paxton sneaks into his old alma mater to attempt one last prank. But Ozzie quickly discovers that the school security chief, Rafe Bentley, has other sinister plans. Kidnapping! Now Ozzie must set aside his childish games so that he can rescue the children of Shady Glen. Starring: Patrick Stewart; Vincent Kartheiser; Brenda Fricker; Brad Whitford and Matt Craven ·Season 2 Episode 20 --- No More Late Fees --- Send in a voice message: https://anchor.fm/nomorelatefees/message Support this podcast: https://anchor.fm/nomorelatefees/support --- Send in a voice message: https://anchor.fm/nomorelatefees/message Support this podcast: https://anchor.fm/nomorelatefees/support

**Trigger Warning - Due to its subject matter, this episode contains racial slurs and discussion and descriptions of gun violence and sexual assault, including the assault of a child. Listener discretion is advised.** The Movie Bar, Episode 5: A Time to Kill Walks Into the Bar! The Diad and Bedroth head back to the American South as they discuss their first foray into the world of John Grisham in the 1996 drama/thriller A Time to Kill - as always, from the dual standpoints of casual moviegoer and legal expert. The film, based on Grisham's 1989 novel of the same name, directed by Joel Schumacher from a screenplay by Akiva Goldsman, stars Samuel L. Jackson and Matthew McConaughey as, respectively, Carl Lee Hailey, a Black mill worker whose 10 year old daughter is raped by two white men on her way home from the grocery store, and Jake Brigance, the while lawyer who takes Carl's case after he fatally shoots the two men in the local courthouse. After taking Heiley's case, Brigance and his wife (Ashley Judd) and colleagues (Sandra Bullock, Brenda Fricker, and Oliver Platt) find themselves the targets of the local chapter of the Ku Klux Klan, summoned by the brother of one of Hailey's victims, Freddie Lee Cobb (Kiefer Sutherland), and must decide whether the risk of losing their reputation (and perhaps their lives) is worth the potential benefit of not only saving Hailey's life, but also of proving that a Black man can have a fair trial. The film also features Donald Sutherland as Lucien Wilbanks, a once-great civil rights lawyer and Jake's longtime mentor; Kevin Spacey as Rufus Buckley, the politically ambitious and experienced prosecutor; and Charles S. Dutton as county sheriff Ozzie Walls. Does the film stand the test of time? Does it hold up under legal scrutiny? Join us at the bar and find out! Bedroth on Twitter: https://twitter.com/VGMPod The Diad on Twitter: https://twitter.com/thediad Find us on Discord: https://discord.gg/3w8EfU4mJM Theme Song "Cross Examination" by Skeletroy (https://www.patreon.com/skeletroy/posts) The Movie Bar is proudly affiliated with RPGEra.com (https://rpgera.com/)! Check them out for lots of great content, including articles, videos, and podcasts covering a variety of pop culture topics! Sound bytes from A Time to Kill are TM and Copyright (c) Regency Enterprises.

Today we are talking about the 2011 film staring Olympia Dukakis and Brenda Fricker, Cloudburst. The Thom Fitzgerald authored and directed film is about a lesbian couple who escape from their nursing home and head up to Canada to get married. Along the way, they pick up a young, male hitchhiker. It is reminiscent of the Netflix documentary “A Secret Love” (2020). The Fitzgerald film is among few who have received 100% on Rotten Tomatoes. Take a watch and let us know what you think. Molly: “Well, I know what lesbians look like. I mean, I'm not stupid. But you guys aren't exactly Ellen and Portia.” Some highlights of this movie are: Excellent casting of Olympia and Brenda Not pleased with the artificial “golden hour” Never split the party Prentice's impressive handstands Police officers vs. lesbians Stella's dirty mouth Special thanks to our editor Geoff Vrijmoet for this episode and Melissa Villagrana for helping out with our social media posts. Next week's film will be Love Simon (2018) available on Apple and Amazon for $3.99 Subscribe, Rate & Share Your Favorite Episodes! Thanks for tuning into today's episode of Dodge Movie Podcast with your host, Mike and Christi Dodge. If you enjoyed this episode, please head over to Apple Podcasts to subscribe and leave a rating and review. Don't forget to visit our website, connect with us on Instagram, Facebook,   LinkedIn, and share your favorite episodes across social media. Give us a call at 971-245-4148 or email at christi@dodgemediaproductions.com

Snap those fingers and blow out that candle, man, as we immerse ourselves in Mike Myers's personal mythology in Tommy Schlamme's So I Married an Axe Murderer. Is this movie basically a Rosetta Stone for all of Myers's future films? How does a beat poet afford an incredible apartment in San Francisco—unless he's actually the one who is a black widow killer? Are the comedy cameos in this, from Charles Brolin to Steven Wright, the best of all time? Or do the incessant “bits” that it spawned ruin the fun? The only thing we can say is: Let's get pissed!

With Episode 117 of Adapt or Perish, these indoor kids are tackling the world of sports again with a look at the baseball classic Angels in the Outfield! In this episode, we discuss: The 1951 original, directed by Clarence Brown, written by Dorothy Kingsley and George Wells, and starring Paul Douglas, Janet Leigh, Keenan Wynn, and Donna Corcoran The 1994 remake, directed by William Dear, written by Holly Goldberg Sloan, and starring Danny Glover, Joseph Gordon-Levitt, Brenda Fricker, Tony Danza, and Christopher Lloyd Footnotes: Patrick H. Willems' video essay "Why Baseball is the Best Movie Sport" CollegeHumor's 30 for 30: Angels in the Outfield You can follow Adapt or Perish on Twitter, Instagram, and Facebook, and you can find us and all of our show notes online at adaptorperishcast.com. We're also on Patreon! You can find us at patreon.com/adaptcast. We have multiple reward levels, which include access to a patron-only community and a patron-only, biweekly bonus show! We hope to see you there. If you want to send us a question or comment, you can always email us at adaptorperishcast@gmail.com.

We've returned from our brief hiatus - and we are delighted to be back.  First up this week we talk about the upcoming National Women's Council protest march and why you should get involved.TV this week is pretty varied - we have Love is Blind, We're all Dead and The Power of the Dog - reality TV, zombies and educated cowboys. Eclectic.Our Fox this week is inimitable Brenda Fricker - mammy of Ireland - but mostly amazing actress and great woman.Nicola gives us the heads up on an awesome new(ish) dining out experience called First Table - you can thank us later.Finally this week, we talk autobiographies, but specifically, Britney Spears autobiography! It's gonna be a cracker - like this podcast!Thanks for listening!Please help us spread the word if you enjoy the podcast. You can subscribe on your preferred podcast platform and follow us on social media @foxforcefivepod.Sign-up here to get the podcast straight to your inbox every week; https://mailchi.mp/ee57f9be3c2a/fox-force-five-podcast We really appreciate a review if you have time to give us one too. Thanks!Theme music by IJUNIJUN from Pixabay Hosted on Acast. See acast.com/privacy for more information.

This week we go back to Cate Blanchett's early career and another one of her "titular" roles, playing Irish journalist Veronica Guerin (2003). To discuss Joel Schumacher's film, Murtada welcomes illustrator and designer Dash Silva to the podcast. This wide ranging conversation also covers Blue Jasmine, The Aviator, the accent work of Meryl Streep and a few of this year's best actress awards contenders including Lady Gaga, Jessica Chastain and Kristen Stewart.  Hosted, Produced and Edited by Murtada Elfadl.Support the show (https://ko-fi.com/sundayswithcate)

In this episode Mark talks about one of his favourite films: the 1992 American comedy film "Home Alone 2: Lost In New York" directed by Chris Columbus and written and produced by John Hughes. A sequel to the 1990 film "Home Alone", the film stars Macaulay Culkin as Kevin McCallister who once again gets separated from his family at Christmas time. However, instead of accidentally being left home alone this time Kevin and his parents unknowingky board the two separate flights to two separatedestinations, which leads to the McCallister family - including his parents Peter (played by John Heard) and Kate (played by Catherine O'Hara) - to travel to Florida while Kevin finds himself landing in New York City where he encounters his old nemesis' the "Wet Bandits", Harry and Marv (played by Joe Pesci and Daniel Stern), and has to work to thwart their plans to steal money intended for a children's hospital, as well as be typically industrious in his ability to survive on his own while hoping that he will somehow be reunited with his family. The film also Tim Curry and Brenda Fricker. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/markthepoet/message Support this podcast: https://anchor.fm/markthepoet/support

Twenty-five years of choosing Ashley Judd over Sandra Bullock... ...along with some other tragedies in Joel Schumacher's adaptation of John Grisham's A TIME TO KILL. The finest film podcast from the South have a few notes to give the filmmakers: We accept all cast members sweating profusely EXCEPT for Brenda Fricker. More Oliver Platt. Less Kevin Spacey. More Olvier Platt sweating. PROFUSELY. All of this and more as one Florida Man schools two Kentuckians on just why this film represents The Nipple of the South. And we avoid any talk of race relations. It's for the best. Support what we do with bonus content and early episodes on Patreon Listen: Apple Podcasts/Spotify Facebook/Instagram/Twitter: @sobercinema Follow your hosts on Letterboxd for sneak peaks at film criticism GENIUS: Jairo @truebromance Jared @jgdotson Josh @SoberCinema Mike @projectingfilm Find out more at https://sobercinema.pinecast.co This podcast is powered by Pinecast.

Ray catches up with Brenda Fricker.

On todays show Ray catches up with Brenda Fricker, Sister Stan joins us to talk about the Shine A Light Campaign and Jimi Blake joins Ray to tell us about a new series starting tonight on RTÉ One called Ireland's Garden Heroes.

Internationally renowned wellness and yoga expert Jessamyn Stanley chats to Candy and Kiki about her discovery of the practice and what it means to her, her advocacy for weed and the politics surrounding it, her plans to travel the world in her camper and Ireland being ratchet. Candy and guest co-host Max also chat about Candy's rivalries with Olivia Coleman and Brenda Fricker, early 2000's dating shows and their newly launched Dreaming Magazine.Hosted by Candy Warhol and Kiki St Clair - For more information head to friendsofdorothypod.com or @friendsofdorothypod on IG. 

In 1996 John Grisham’s novel, A Time to Kill, was brought to life by director Joel Schumacher. A Time to Kill tells the story of a black father on trial in the south after he takes vengeance on the two white men who brutally raped and attempted to kill his 10-year-old daughter. The town is divided as the trial commences, and the family of the murdered racist rapists pulls in the KKK, which further threatens to rip the community apart. A Time to Kill hit #1 in the box office making $152 million on a $40 million budget and is packed with talent featuring: Matthew McConaughey, Sandra Bullock, Samuel L. Jackson, Kevin Spacey, Donald Sutherland, Kiefer Sutherland, Oliver Platt, Charles S. Dutton, Ashley Judd, Brenda Fricker, and Patrick McGoohan. But, does it hold up? Listen in as Jon, Colin, and Brent debate morality as we see if this flick deserves a fair trial, or if it’s a time to watch a different movie.

Inside I'm Dancing, also released under the title Rory O'Shea Was Here, is an Irish 2004 comedy-drama starring James McAvoy and the ever dependable Brenda Fricker. The film is a fun bromance between two wheelies who escape institutional care and try to live independently. Despite mediocre review scores, it turned out to be one of our favourites, mostly for the authenticity of its disabled aesthetics, light hearted tone, and thoughtful smaller moments. Throughout the episode, we discuss the significance of hairgel, the tragedy of displaced cripple laundry, deadbeat parents, and speech impediments. Find out more at http://cripplethreatpodcast.com

In this episode of our All290s series we look at the film Masterminds (1997). Trapped in a school in which a gang of criminals has siezed control, a  young troublemaker fights a cat and mouse battle from inside. Patrick Stewart, Vincent Kartheiser, Brenda Fricker, Annabelle Gurwitch  and Bradley Whitford  star.  Listen, rate and share. Want to help support the show? Check us out at https://www.patreon.com/CullenPark Check out some cool music by host Matthew Haase at https://youtu.be/5E6TYm_4wIE Check out cool merchandise related to our show at http://tee.pub/lic/CullenPark If you can during these troubling times make a donation to one of the following charities to help out. https://www.directrelief.org/ https://www.naacpldf.org/ https://www.blackvotersmatterfund.org --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/all2reeltoo/support Learn more about your ad choices. Visit megaphone.fm/adchoices

Callum, George and Alex give an audio commentary for 1992's Home Alone 2, directed by Chris Columbus and starring Macauley Culkin, Joe Pesci, Daniel Stern, John Heard, Tim Curry, Brenda Fricker and Catherine O'Hara

The queens continue their holiday celebrations and are joined by iconic Eurovision legend Linda Martin who chats about her Eurovision journey and win, being part of the phenomenon that was Irish Popstars and the Nadine Coyle passport scandal and her relationship with Stephen Gatley and the LGBTQ+ community. Candy,Kiki and Max are also joined by their drag sisters Maud Gonna Wrong and Annie Naggins to chat about their favourite holiday movies, presents and Candy seeks justice for The Pigeon Lady aka Brenda Fricker. For more information head to friendsofdorothypod.com or @friendsofdorothypod on IG.

On today's show, Ray catches up with Brenda Fricker ahead of Christmas, Mary Kennedy is in studio speaking about Christmas At Home, Comedian Alison Spittle is on the phone ahead of the The Cat Laughs Comedy Festival and Conor Pope is back with Pricewatch.

On today's show, Ray catches up with Brenda Fricker ahead of Christmas, Mary Kennedy is in studio speaking about Christmas At Home, Comedian Alison Spittle is on the phone ahead of the The Cat Laughs Comedy Festival and Conor Pope is back with Pricewatch.

Ray catches up with Brenda Fricker ahead of Christmas

I pulled a Brenda Fricker this week in the middle of Santa Monica beach. I also got me a new mo mo!! BEEP BEEP. That's right- Áine in LA is on wheels!! Beep beep Welcome to episode 4of #aineinla Episode FOUR

Was moving the action to Manhattan and upping the "ow"-factor enough to justify a second Home Alone movie? We're tossing bricks and taking names in the latest ep of our podcast.

Holy Smokes! It’s our review of 1992’s Home Alone 2: Lost in New York! Is being sticky better than being wet? Were these traps funny, or just plain cruel? How many more movies will it take for someone to call CPS on these negligent parents? Are sequels ALWAYS worse? Find out all that and more this episode.

DBC Pierre, the man-booker debut winning novelist, joins Seán to discuss his fourth novel, Meanwhile in Dopamine City, Patrick Scullion chats about his alter-ego Rosa Tralee's upcoming shows at Dublin Fringe Festival & Jim Sheridan, Brenda Fricker & Billie Keane revisit The Field at 30.

On today's show Ray chats to Brenda Fricker from Imelda May joined Ray on the line from Hampshire.

Ray has a social distance chat with Brenda Fricker from outside her home in Dublin.

Before she played the most unrealistic homeless woman in Home Alone 2: Lost in New York, Brenda Fricker became the first Irish actress to win an Academy Award for My Left Foot. Her competition included Julia Roberts, Lena Olin, Anjelica Houston, and Dianne Wiest. Join Kyle Brownrigg and co-host Liz de Carle for another episode of Best Actress.

"My Left Foot" is teeming with talent, from Daniel Day-Lewis to Fiona Shaw to Hugh O'Connor to Best Supporting Actress Brenda Fricker as Christy Brown's devoted mother. This week, we celebrate the Irishness of it all, the set piece of the Restaurant Scene, Fiona Shaw as Medea, the perils of method acting, and the matriarchs in our own lives. Plus, quality drag content that isn't a competition and a review of our list of BSA's in Waiting! Email: thebsapod@gmail.com Twitter: @bsapod Colin Drucker Twitter: @colindrucker Instagram: @colindrucker_ Nick Kochanov Twitter: @nickkochanov Instagram: @nickkochanov

It was a natural and easy decision for John Williams to agree to write the score to "Home Alone 2: Lost in New York" since the original film was so successful and garnered much praise for the Maestro's score. But, was his enthusiasm still there when he saw that the sequel was pretty much a rehash of the original in new locations? The answer seems to be a resounding yes. Though there are many musical moments directly lifted from the first film. Williams does his best to put in some new touches, though he doesn't create much a of a new sound as he did in previous sequel scores. Host Jeff Commings highlights some of the new material, including the new songs Williams and Leslie Bricusse wrote, and theorizes why the Pigeon Lady (played by Oscar winner Brenda Fricker) didn't get a theme.

Robert, Rachael and Ben take a cinematic trip to 1990s San Francisco, a world of coffee houses and poets - it can only be the Mike Myers classic So I Married an Axe Murderer!

Award-winning actresses Anna Friel and Brenda Fricker come together in this poignant and rewarding episode. It follows the highs of Anna’s joyful childhood and supportive family to the lows of Brenda’s revelation at being ostracised from the Irish television and film industries. Anna reveals how she had to live off her savings for fifteen years and describes how she now feels like ‘an orphan’ following the deaths of all her remaining family.

Recorded 9/17/2019High Sponsor: Grape ApeInside Scoop: Borderlands 3Notes:The previous record for total league-wide home runs was 6,105 in 2017, and it was broken with over two weeks left in the season. !6 teams have either already broken their franchise record or have a decent shot at it.It is the same actress in Home Alone 2: Lost in New York and Angels in the Outfield, Oscar winner Brenda Fricker.

• Isabelle Adjani returns  • Michelle Pfeiffer goes consecutive  • Anjelica Huston redeems herself  • Pauline Collins breaks the 4th wall • Brenda Fricker pre pigeon lady  • Season 2 Finale 

HELEN WHITNEY, WRITER, DIRECTOR, PRODUCEREmmy and Peabody award-winning, film producer, director and writer Helen Whitney has been a prolific creator of documentaries and feature films. Her compelling subject matter has included topics such as youth gangs, presidential candidates, the McCarthy era, mental illness, Pope John Paul II, Great Britain’s class structure, homosexuality and photographer Richard Avedon. Among the actors she has worked with: Lindsay Crouse, Austin Pendleton, David Strathairn, Brenda Fricker, Teresa Wright, Estelle Parsons.Throughout her career, she has maintained a deep interest in spiritual journeys, which she first explored with her documentary The Monastery, a 90-minute ABC special, about the oldest Trappist community in the Americas. Whitney followed this film with a three-hour Frontline documentary for PBS, John Paul II: The Millennial Pope, and in 2007 she produced The Mormons, a four-hour PBS series that explored the richness, complexities and controversies surrounding the Mormon faith. Following the Sept. 11 attacks, she produced Faith and Doubt at Ground Zero, a two-hour documentary that examined how religious belief – and unbelief – of Americans was challenged and altered by the spiritual aftershocks of 9/11. The film has been repeated numerous times since it first aired in 2002, and it was a PBS featured presentation on the 1st and on the 10th anniversary of the attacks.One of Whitney’s recent works examines the power, limitations, and in rare cases, the dangers of forgiveness through emblematic stories ranging from personal betrayal to genocide. This film involved shooting throughout America, and such countries as South Africa, Germany, Rawanda, The three-hour series, Forgiveness: A time to Love and a Time to Hate, aired on PBS in 2011 and it also inspired Whitney to write a book of the same title, with a forward written by the Dalai Lama.The filmmaker has also received an Academy Award nomination, the Humanitas Prize, Emmys, two DuPont-Columbia Journalism Awards and many other recognitions for her work. She is a Woodrow Wilson Fellow, and has presented her films and lectured at universities, museums and churches around the country (including Yale, Princeton, Harvard, Brigham Young, Stanford, the National Cathedral, the Corcoran Gallery, the Minneapolis Art Institute). Into the Night: Portraits of Life and Death, a two-hour feature documentary, features fascinating, unexpected voices from various walks of life: old and young, believers and nonbelievers, the dying and the healthy, well known and obscure. Among them: Caitlin Doughty, an alternative mortician and bestselling author with her own YouTube following; Adam Frank, an astrophysicist and NPR commentator, Gabriel Byrne, renowned actor of stage and screen; Jim Crace, award-winning novelist and environmentalist; Max More, a cryonicist and futurist; Stephen Cave, a British philosopher; Phyllis Tickle, a near-death experience spokesperson and religious historian; Pastor Vernal Harris, a Baptist minister and advocate for hospice care in African-American communities; Jeffrey Piehler, a Mayo Clinic heart surgeon. However varied their backgrounds, all are unified by their uncommon eloquence and intelligence, and most important by their dramatic experience of death. Each of them has been shocked into an awareness of mortality–and they are forever changed. For them death is no longer an abstraction, far away in the future. Whether through a dire prognosis, the imminence of their own death, the loss of a loved one, a sudden epiphany, or a temperament born to question, these are people who have truly ‘awakened’ to their own mortality.Into the Night creates a safe smart place that allows people to talk about a subject of universal importance. It is the conversation we yearn to have, but too often turn away from in fear and distress. Yet our culture is at a critical turning point, driven in part by the baby boomer generation that is insisting on a new openness and on this deeper conversation. Our film speaks to this emerging movement with a novel approach meant to provoke searching conversations, both private and public.Ultimately the film is meant to raise questions, not to provide answers. How could it? Death is “that undiscovered country,” as Hamlet so famously described it, “from whose bourn/No traveler returns.”https://www.intothenightdoc.com See acast.com/privacy for privacy and opt-out information.

Merry Christmas! We're ending 2018 with our final episode of the year, discussing the very questionable "sequel" to a holiday classic. Directed by Chris Columbus Starring: Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Tim Curry, Rob Schneider, Dana Ivey, Ralph Foody, Brenda Fricker, and Catherine O'Hara Episode is available via iTunes (goo.gl/2J7Asb), Google Play Music (goo.gl/DYbfUx), or direct download via Soundcloud. Be sure to Subscribe via iTunes, Google Play Music, or wherever you listen to the show. Follow us on Facebook, to keep up on the latest and greatest news from Cinema Cult.

On this week's episode, the gang chats about the complete and total misfire that is Masterminds! How much of the film features Patrick Stewart wearing a fake mustache? What's with this vague television business deal side plot? And how nuts is it that this best friend's serious nickname is K-Dawg? PLUS: Brad Whitford?Masterminds stars Patrick Stewart, Vincent Kartheiser, Brenda Fricker, Bradley "Brad" Whitford, and Callum Keith Rennie; directed by Roger Christian.

A Beautiful Mind (2001)A human drama inspired by events in the life of John Forbes Nash Jr., and in part based on the biography "A Beautiful Mind" by Sylvia Nasar. From the heights of notoriety to the depths of depravity, John Forbes Nash Jr. experienced it all. A mathematical genius, he made an astonishing discovery early in his career and stood on the brink of international acclaim. But the handsome and arrogant Nash soon found himself on a painful and harrowing journey of self-discovery.Across the Universe (2007)The songs of the Beatles provide the sonic framework for this musical tale of romance, war and peace. When young British worker Jude (Jim Sturgess) sets sail for the United States in search of his father, he ends up meeting carefree college student Max (Joe Anderson) and his lovely sister, Lucy (Evan Rachel Wood), along with a cast of eccentric characters. As Jude and Lucy fall for each other, their relationship is threatened by the social upheaval that accompanies the Vietnam War.Analyze That (2002)Mob boss Paul Vitti (Robert De Niro) is nearing the end of his term in Sing Sing, and the FBI agents monitoring him are baffled. Day after day they watch as New York's most notorious gangland figure walks around his cell in a semi-catatonic stupor. Is Vitti having a nervous breakdown because of recent threats on his life or is his odd behavior merely a foxy ploy to get him sprung from jail early?Analyze This (1999)A Mafia don suffers anxiety attacks which force him to visit a psychiatrist. Renowned for his brutality, the mobster is worried about his reputation when he finds himself bursting into tears for no apparent reason. Seeking help on the psychiatrist's couch, the forceful and demanding hard man proves a challenge to the doctor who has several complicated problems of his own.Brokeback Mountain (2005)In 1963, rodeo cowboy Jack Twist (Jake Gyllenhaal) and ranch hand Ennis Del Mar (Heath Ledger) are hired by rancher Joe Aguirre (Randy Quaid) as sheep herders in Wyoming. One night on Brokeback Mountain, Jack makes a drunken pass at Ennis that is eventually reciprocated. Though Ennis marries his longtime sweetheart, Alma (Michelle Williams), and Jack marries a fellow rodeo rider (Anne Hathaway), the two men keep up their tortured and sporadic affair over the course of 20 years.The Burbs (1989)Settling in for some time off in his suburban home, Ray Peterson's (Tom Hanks) vacation becomes a horror when the Klopeks, a suspiciously odd family, move in down the block. Enlisting the aid of his paranoid buddy, Art (Rick Ducommun), and his militia-man neighbor, Rumsfield (Bruce Dern), Ray sends his son and wife (Carrie Fisher) away on a trip while he investigates the Klopeks. When a neighbor disappears, Ray and his cohorts risk their lives to save their cul-de-sac from the clutches of evil.Clue (1985)Based on the popular board game, this comedy begins at a dinner party hosted by Mr. Boddy (Lee Ving), where he admits to blackmailing his visitors. These guests, who have been given aliases, are Mrs. Peacock (Eileen Brennan), Miss Scarlet (Lesley Ann Warren), Mr. Green (Michael McKean), professor Plum (Christopher Lloyd), Mrs. White (Madeline Kahn) and Col. Mustard (Martin Mull). When Boddy turns up murdered, all are suspects, and together they try to figure out who is the killer.My Left Foot (1989)No one expects much from Christy Brown (Daniel Day-Lewis), a boy with cerebral palsy born into a working-class Irish family. Though Christy is a spastic quadriplegic and essentially paralyzed, a miraculous event occurs when, at the age of 5, he demonstrates control of his left foot by using chalk to scrawl a word on the floor. With the help of his steely mother (Brenda Fricker) -- and no shortage of grit and determination -- Christy overcomes his infirmity to become a painter, poet and author.Over the Top (1987)Tale in which a truck driver with a lucrative sideline in arm-wrestling takes his estranged 12-year-old son on the road after the boy's mother falls seriously ill. The trucker is beginning to reach out to the boy as the pair head for Vegas and the arm wrestling world championships, but the lad's wealthy, unfeeling grandfather sends his thugs to put a stop to the bonding and bring the boy back.Primal Fear (1996)Defense attorney Martin Vail takes on jobs for money and prestige rather than any sense of the greater good. His latest case involves an altar boy, accused of brutally murdering the archbishop of Chicago. Vail finds himself up against his ex-pupil and ex-lover, but as the case progresses and the Church's dark secrets are revealed, Vail finds that what appeared a simple case takes on a darker, more dangerous aspect.Rain Man (1988)When car dealer Charlie Babbitt (Tom Cruise) learns that his estranged father has died, he returns home to Cincinnati, where he discovers that he has an autistic older brother named Raymond (Dustin Hoffman) and that his father's $3 million fortune is being left to the mental institution in which Raymond lives. Motivated by his father's money, Charlie checks Raymond out of the facility in order to return with him to Los Angeles. The brothers' cross-country trip ends up changing both their lives.You Don’t Mess with the Zohan (2008)Crack commando Zohan Dvir is Israel's first line of defence against terrorism, but despite his prowess as a soldier, he dreams of just one thing: becoming a hair stylist in New York. When a battle with his arch-nemesis, a terrorist called `The Phantom', gives Zohan the opportunity to fake his own death, he flees to the Big Apple to follow his dreams. However, `The Phantom' learns that he is still alive. See acast.com/privacy for privacy and opt-out information.

There's acting. There's good acting. And then there's Daniel Day Lewis, a man so talented he only needs one limb to wow you in his first of three Best Actor winning films, My Left Foot. A fine film elevated by a great performance...and we don't always mean Mr. Day Lewis, either, for Best Supporting Actress winner Brenda Fricker is every bit his equal. Plus, Amy brings her own personal history into this and we reflect on how it is impossible to remove one's experiences from watching a film. And Steve once again curses that we could've had 'Academy Award winner Tom Cruise' this year, but nooo...all that and the dickishness of artists, bad haircuts and she had how many kids?!?! and so much more. Thanks for listening. We hope you've enjoyed our little stopover in 1989. Almost done! Send us a line with your thoughts to oscarwatchpodcast@gmail.com and find us on social media @oscarwatchpod

WELCOME TO TAKE 2 RADIO SOAPS IN REVIEW         This show is on the 2nd & 4th THURSDAY of the month at 7PM EASTERN TIME!  EPISODE 36: Take 2 Radio Soaps in Review: Thursday, May 25th at 7pm eastern: ****SPECIAL GUEST GENERAL HOSPITAL'S SONYA EDDY  Sonya's professional acting career in Los Angeles has spanned over a dozen years. Her roles include recurrings on "ER", "Joan of Arcadia", "Seinfeld", "The Drew Carey Show" and others. Having appeared in the Hallmark Movie of the Week "The Reading Room" opposite James Earl Jones, Ms. Eddy was also a series regular on Martin Short's "Primetime Glick" and has also appeared professionally in "Cat on a Hot Tin Roof" with John Goodman and Brenda Fricker at the Geffen Playhouse in Los Angeles. Most recently, Ms. Eddy can be seen in her recurring role on "General Hospital" as Epiphany Johnson - a no-nonsense head nurse. She also brought Epiphany to SOAPnet's first serialized drama for primetime "General Hospital: Night Shift" in July, 2007.**** JOIN PAM, DAVID, CAROLYN, AND CASEY, as they speak with Sonya and as they discuss what's been happening on The Bold and the Beautiful, Days of Our Lives, General Hospital, and The Young and the Restless  Whether you watch all 4 or just one they be reviewing all of the soaps and we welcome calls from the fans to give their thoughts! CALL IN 1-718-506-1540 PRESS 1 FOLLOW ON TWITTER @Take2Radio @T2RadioSoapsReview @Take2RadioCrew @MsElizabethLong @BarefootBlonde5 @CaseyHutch99 

In Episode 27 of The Cinescope Podcast, Chad talks with the hosts of the Two Middle-Aged Dudes and a Microphone Podcast, Aaron and Craig, about one of their favorite movies, So I Married an Axe Murderer! The Cinescope Podcast on iTunes Show Notes   So I Married an Axe Murderer on iTunes So I Married an Axe Murderer soundtrack (not score) on iTunes   Stats Released July 30, 1993 Dir. Thomas Schlamme (Miss Firecracker; TV - Pilot episode of Spin City, Pilot episode of Parenthood, 5 episodes of Manhattan, worked with Aaron Sorkin on The West Wing and Sports Night as well as short-lived Studio 60 on the Sunset Strip) Written by Robbie Fox (uncredited - Mike Myers, Neil Mullarkey) Music by Bruce Broughton (TV - Quincy, M. E., Dallas; Film - The Boy Who Could Fly, Harry and the Hendersons, The Rescuers Down Under, Honey, I Blew Up the Kid, Homeward Bound: The Incredible Journey and its sequel Lost in San Francisco, Tombstone, Miracle on 34th Street) Starring Mike Myers, Nancy Travis, Anthony LaPaglia, Amanda Plummer, Michael Richards, Brenda Fricker, Matt Doherty, Charles Grodin, Phil Hartman, Debi Mazar, Steven Wright, Alan Arkin Contact 2 Middle-Aged Dudes and a Microphone Podcast Website Facebook Twitter Chad Twitter Facebook Cinescope Facebook Twitter Website Email thecinescopepodcast@gmail.com Note: The iTunes links provided are affiliate links, meaning that when you click on them you help to support The Cinescope Podcast by earning it a bit of money. Thank you for your support! Special Guests: Aaron Lindsey and Craig Underhill.

On this week's LadyWatch agenda: Ryan and Jason cover the many Lady appearances at the SAG Awards and Oscar nominations, and also try to uncover a long-held grudge between Brenda Fricker and her peers (in 1990). PLUS: Jason gets the corpse he's always wanted back in Hollywood where it belongs, Wynonna and Ashley Judd caught in the middle of our country's fabric ripping apart (and what to do about problematic Ladies with problematic beliefs), Phylicia Rashad and Debbie Allen's exotic adolescence, Sundance Ladies, Christine McVie raises Ryan's eyebrow, Helen Reddy comes out of hiding, Whoopi Goldberg and Maggie Smith have each other's backs, and MUCH MUCH MORE!

In 1998, Mike Myers removed his comedy mask and placed on the mask of tragedy one more time for the Irish Drama "PETE'S METEOR" also starring Brenda Fricker, Alfred Molina and a trio of insufferable child actors. This is the only example of a Mike Myers film that we know absolutely nothing about. There is no information about this film at all. Is it because it is bad? Yes.  We're joined by comedian, actor and confirmed Wayniac LAURA HUGHES to get us through this truly upsetting journey.  Laura Hughes stars in Australian Action/Comedy "THE TAIL JOB". It is a seriously funny and compelling film directed by Bryan Moses & Daniel Millar also starring our very own Craig Anderson + some of the funniest Aussie Comedy people. FanForce Screenings around Australia NOW Subscribe on iTunes, and give us a star rating (I recommend 5), and suggest another hyper-specific comedy actor podcast you'd like to here EG "Carving It Up!: The Official Dana Carvey Podcast". If we like it, we'll do a spinoff episode just for you! Facebook Twitter See acast.com/privacy for privacy and opt-out information.

Fresh from his Oscar win at the 88th Academy Awards for Best Short Film Live Action for his short Stutterer, we speak to Dubliner Benjamin Cleary. He joins the small club of Irish Oscar winners which includes Peter O'Toole, George Bernard Shaw, Neil Jordan and Brenda Fricker. We chat about how he got started in film-making, the lead up to the big night and what his business card says now post Oscar win. What's the Craic is a weekly Irish radio show that broadcasts on Brighton's Radio Reverb on 97.2FM, DAB and online at radioreverb.com. You can hear it live Mondays at 8pm or catch the repeat on Tuesdays at 3pm or Saturdays at 1am GMT. You can follow us on Twitter at @whatsthecraicrr or on facebook.com/whatsthecraicrr for up to date news on whats coming up on the show and to get in touch with us. #Brighton #Hove #Sussex #Irish #podcast #movies #Oscars

Título original Albert Nobbs Año 2011 Duración 108 min. País Reino Unido Reino Unido Director Rodrigo García Guión Glenn Close, John Banville, Gabriella Prekop (Historia corta: George Moore) Música Brian Byrne Fotografía Michael McDonough Reparto Glenn Close, Mia Wasikowska, Aaron Johnson, Jonathan Rhys Meyers, Brendan Gleeson, Maria Doyle Kennedy, Janet McTeer, Brenda Fricker, Pauline Collins, Bronagh Gallagher, Michael McElhatton Productora Coproducción Reino Unido-Irlanda; Mockingbird Pictures / Parallel Film Productions / WestEnd Films Género Drama | Siglo XIX Sinopsis Irlanda, siglo XIX. Una mujer (Glenn Close) se ve atrapada en un triángulo amoroso inusual. Se disfraza de hombre para poder trabajar y sobrevivir, pero 30 años después se encuentra perdida en su propia prisión...

Tim and Anthony watch Home Alone 2 (Macaulay Culkin, Joe Pesci, Daniel Stern, John Heard, Catherine O'Hara, Tim Curry, Ally Sheedy, Devin Ratray, Brenda Fricker, Rob Schneider) and record a proper episode. The guys also talk about The People vs. George Lucas, and the differences between the Pigeon Lady and Old Man Marley. Tim does his best to sabotage the show with his digestive system. Plus, Joe Pesci speaks like a rabid dog. Tim shares a recent movie theater experience, and the show wraps with a spolier free chat about Mad Max: Fury Road, and Anthony can't wait for the Mad Men finale. 

Nick and I wish you the happiest of holidays with this special double-length look at the perennial favorites "Home Alone" and "Home Alone 2: Lost in New York"! Feel the Christmas spirit flow through you as we discuss the implausibility of both films, their wonderful supporting casts, and (once again) the tragic downfall of the films' writer John Hughes. One or both of these are certainly candidates for "The Best Movie of All-Time!", ya filthy animal.