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6 episodes with brian trenchard smith
5 episodes with brian trenchard smith
7 episodes with brian trenchard smith
2 episodes with brian trenchard smith
3 episodes with brian trenchard smith
2 episodes with brian trenchard smith
2 episodes with brian trenchard smith
2 episodes with brian trenchard smith
3 episodes with brian trenchard smith
Das lang ersehnte Sequel zu unserer Ozploitation-Folge ist da. Wir richten unsere Scheinwerfer auf einen der prägendsten Regisseure des australischen Films, der in unzähligen Genres unterwegs war. Seine Filme werden von vielen als kultig verehrt und auch Quentin Tarantino preist sein Werk aus voller Kehle. Zur Unterstützung haben wir uns einmal mehr Hermann von „Ja, hier… Filme.“ eingeladen, der dieser lebenden Legende bereits die Hand schütteln durfte.
Alexi Wasser discusses a few of her favorite films with hosts Josh Olson and Joe Dante. Movies Referenced In This Episode Messy (2025) Casablanca (1942) - John Landis' trailer commentary Looking For Mr. Goodbar (1977) - Larry Karaszewski's trailer commentary Auto Focus (2002) Gremlins (1984) - Glenn Erickson's Blu-ray review Amadeus (1984) - Allan Arkush's trailer commentary A Clockwork Orange (1971) The Shining (1980) - Adam Rifkin's trailer commentary Sixteen Candles (1984) - Adam Rifkin's trailer commentary, Glenn Erickson's Blu-ray review Innerspace (1987) - Glenn Erickson's Blu-ray review Explorers (1985) - Glenn Erickson's Blu-ray review The 'Burbs (1989) - Ti West's trailer commentary Flashdance (1983) Saturday Night Fever (1977) Lolita (1997) Unfaithful (2003) Let Him Go (2020) A History Of Violence (2005) Desperately Seeking Susan (1985) Purple Rain (1984) - Josh's trailer commentary Fast Times At Ridgemont High (1982) - Karyn Kusama's trailer commentary, Glenn Erickson's Criterion Blu-ray review Almost Famous (2000) - Allan Arkush's trailer commentary The Searchers (1956) - Glenn Erickson's Blu-ray review Junior Miss (1945) Valley Girl (1983) - Karyn Kusama's trailer commentary, Glenn Erickson's Blu-ray review Clueless (1995) Heathers (1988) - Karyn Kusama's trailer commentary Pretty In Pink (1986) Batman Returns (1992) - Alex Kirschenbaum's review The Adventures of Ford Fairlane (1990) Reality Bites (1994) Monty Python And The Holy Grail (1975) - Adam Rifkin's trailer commentary Dazed And Confused (1993) - Glenn Erickson's Criterion Blu-ray review Pulp Fiction (1994) - Glenn Erickson's Blu-ray reviews Beaches (1987) The Long Goodbye (1973) - Josh's trailer commentary, Glenn Erickson's Blu-ray review Little Murders (1971) - Larry Karaszewski's trailer commentary, Glenn Erickson's Blu-ray review The Devil Wears Prada (2006) Weird Science (1985) - Glenn Erickson's Blu-ray review Zach And Miri Make A Porno (2008) Tie Me Up! Tie Me Down! (1986) An Unmarried Woman (1978) - Glenn Erickson's Blu-ray review Working Girl (1988) - Brian Trenchard-Smith's trailer commentary Withnail & I (1987) - Josh's trailer commentary, Randy Fuller's wine pairings Someone To Love (1987) Before Sunrise (1995) - Glenn Erickson's Blu-ray review Before Sunset (2004) - Glenn Erickson's Blu-ray review Before Midnight (2012) - Glenn Erickson's Blu-ray review Metropolitan (1990) The Last Days Of Disco (1998) Manhattan (1979) Annie Hall (1977) - Robert Weide's trailer commentary Hannah And Her Sisters (1986) Moonstruck (1987) - Glenn Erickson's Criterion Blu-ray review Mandy (2018) - Josh's trailer commentary Pig (2021) Django (1966) Bad Lieutenant: Port Of Call New Orleans (2009) - Josh's trailer commentary Bad Lieutenant (1992) The Unbearable Weight Of Massive Talent (2022) Mermaids (1990) Cat People (1982) Taxi Driver (1976) - Rod Lurie's trailer commentary Hardcore (1979) - Glenn Erickson's Blu-ray review Infested (2002) This list is also available on Movies Unlimited. Learn more about your ad choices. Visit podcastchoices.com/adchoices
This week on the Talk Without Rhythm Podcast I'm fulfilling another Patreon Pick, this time from TWoRP Legionnaire Tom B. Tom requested I take a look at 1966's Island of Terror and I decided to make it a Terence Fisher double-feature by pairing it with the 1959 Hammer film The Stranglers of Bombay. [00:00] INTRO [01:39] Trick or Treat Radio Promo [02:56] RANDOM CONVERSATION [08:35] The Stranglers of Bombay (1959) Brian Trenchard-Smith on Trailers from Hell [33:46] Island of Terror (1966) [55:34] FEEDBACK [01:17:31] ENDING MUSIC: Maha Kali by Dissection Buy The Stranglers of Bombay (1959) Buy Island of Terror (1966) Support TWoRP Contact Us talkwithoutrhythm@gmail.com
Our #Shocktober coverage heats up with a Patreon pick from Ellis Kish: Turkey Shoot. This 1982 cult classic from writer-director Brian Trenchard-Smith throws us into a dystopian nightmare set in the “futuristic” year of 1995. Steve Railsback and Olivia Hussey star as prisoners caught in a ruthless government's clutches, where torture is just the beginning—the real terror lies in the deadly “Turkey Shoot.”Heather Drain, Andrew Nette, and Mike dive into this savage satire with insights from Trenchard-Smith and actor Roger Ward, who share the gritty details behind this shocking tale of authoritarianism.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Our #Shocktober coverage heats up with a Patreon pick from Ellis Kish: Turkey Shoot. This 1982 cult classic from writer-director Brian Trenchard-Smith throws us into a dystopian nightmare set in the “futuristic” year of 1995. Steve Railsback and Olivia Hussey star as prisoners caught in a ruthless government's clutches, where torture is just the beginning—the real terror lies in the deadly “Turkey Shoot.”Heather Drain, Andrew Nette, and Mike dive into this savage satire with insights from Trenchard-Smith and actor Roger Ward, who share the gritty details behind this shocking tale of authoritarianism.Become a supporter of this podcast: https://www.spreaker.com/podcast/the-projection-booth-podcast--5513239/support.
Get ready for a spine-tingling dive into 1988's cult horror classic Night of the Demons on the latest episode of Parallax Views w/ J.G. Michael! Kicking off the Halloween “spooky season” series, J.G. welcomes Chris MacGibbon of the Spooky Picture Show, a die-hard fan and researcher of Night of the Demons. Chris has delved deep into the film's eerie legacy, speaking with the cast, unearthing behind-the-scenes stories, and contributing to the Blu-ray releases of Night of the Demons and its sequels. Together, they discuss what makes this iconic film—and its sequels and remakes—so unforgettable in horror history. Tune in as they explore everything from the haunting atmosphere and cult following to the demon-filled, blood-curdling thrills that keep fans returning to this Halloween favorite year after year. Among the topics covered: - The making of NIGHT OF THE DEMONS (1988), which was filmed on a low-budget over a few weeks with some of the shooting taking place in gangland territory - The on-set romance between special effects artist Steve Johnson and scream queen Linnea Quigley (who plays Suzanne in the film) after Johnson had to create a mold of Linnea's breasts - Australian director Brian Trenchard-Smith's NIGHT OF THE DEMONS 2; although the first movie had comedic elements, NIGHT OF THE DEMONS 2 dove into full-on horror farce territory - The strange and troubled history of NIGHT OF THE DEMONS 3 in Canada and its connections to the children's horror TV shows Are You Afraid of the Dark? and Goosebumps - The rather disliked 2009 remake/reimagining of NIGHT OF THE DEMONS starring American Pie's Shannon Elizabeth, Freddy Vs. Jason's Monica Keena, and Terminator 2's Edward Furlong - How NIGHT OF THE DEMONS director Kevin S. Tenney ended up working on the film after making the cult classic Witchboard - Republic Pictures and the unexpected success of Night of the Demons on the home video market - Amelia Kinkade, the actress who plays the goth-girl-turned-demon-possessed-villain-of-the-series Angela, and her other life as a pet psychic; also discussion of her awesome dance scenes in Night of the Demons and Night of the Demons 2 where she dances to the gothic post-punk band Bauhaus and the death metal band Morbid Angel! - And more!
“It's a very specific kind of dumb…” - Chris On this week's SPOOKTACULAR episode, we welcome back our Dead Meat buds, James A. Janisse & Chelsea Rebecca, to chat about the outrageous sci-fi FOUR-OR movie, Leprechaun 4: In Space! How cheap are these computer animated ship effects? What was with that Ray Charles joke? What's going on with this Mittenhands character? Does having this extra bug monster crowd the field for our beloved monstrous Leprechaun? And how about those exploding genitals, huh? PLUS: Captain Picard turns down the offer to install a disco ball in 10 Forward for… reasons. Leprechaun 4: In Space stars Warwick Davis, Brent Jasper, Jessica Collins, Gary Grossman, Rebecca Carlton, Tim Colceri, Guy Siner, Debbie Dunning, Rick Peters, Geoff Mead, Ladd York, and Miguel A. Nuñez Jr. as Sticks; directed by Brian Trenchard-Smith. Be sure to check our website for all ticketing information on our final shows of the year in Seattle, Portland (Oregon) & Boston! And don't miss our worldwide digital event on October 23 where we're talking Scream 4! Can't make it the night of? The show has a 14-day replay window after the broadcast! And for our Patreon subscribers at the $8 & up, the After Party Q&A bundle comes free with purchase of a ticket to the show! Make the WHM Merch Store your one-stop shop for all your We Hate Movies merch-related needs! Including new Bus Movie, Night Vision & Too Old For This Shit designs! Original cover art by Felipe Sobreiro.
Welcome to the FEVER DREAMS!! Snobbies, this week's pick comes to you from Eric's mind. This pick features ET's Henry Thomas and is directed by directors Brian Trenchard-Smith & Russell Hagg, “The Quest” or also called “Frog Dreaming.” This film was a big split. Some of the snobs liked it and one snob definitely did not like it. A film about a child who wants to find the mysterious truth behind the local “Donkeygin.” This was a fun one, Enjoy! Film Discussed: The Quest (1986) Letterboxd: Eric Peterson: letterboxd.com/EricLPeterson/ Jared Klopfenstein: letterboxd.com/kidchimp/ Ethan Jasso: letterboxd.com/e_unit7/ Caleb Zehr: letterboxd.com/cjzehr/ Ricky Wickham: letterboxd.com/octopuswizard/ Cody Martin: letterboxd.com/codytmartin/ Here is a COMPLETE LIST of every film that we have done an episode for. Enjoy! https://letterboxd.com/ericlpeterson/list/a-complete-list-of-every-the-film-snobs-episode/ Five star reviews left on the pod get read out loud!
Brian and Cargill kick off BTSeptember--a celebration of one of their very favorite Aussie directors Brian Trenchard-Smith--with an ill-advised trip to Dead End Drive-In.The price of admission may just be the rest of their lives. So...ya know, plenty of time to hit the snack bar. Support us on Patreon!
In space no one can smell rotten eggs! One small step for man. One giant leap of terror! This year, the past, the present and the future will all meet at the crossroads of hell! Are the Pillow Fright Girls off their rockers, or is this a special bonus on sequels in space? If you guessed the latter, you are correct! But not just any sequels - Elissa is joined by writer, podcast host, and fellow horror trivia team member Patrick Hamilton to help her discuss a trifecta of franchise sequels she's been long prepared to discuss since the beginning of time* (*the start of the podcast) - Critters 4, Leprechaun in Space, and Hellraiser: Bloodline. Are you ready to go off the rails on a crazy train (spaceship)? Grab your Krites, gold, and Lament Configuration and let's get to it! Check out Patrick and the Kill by Kill podcast on Instagram!Support the showSubscribe to our YouTube channel for visual podcast episodes and more! If you enjoy our content and would like to support us, join our Patreon where you will find uncut episodes, bonus content and more!Follow us on socials:InstagramTikTokLetterboxd Pillow Fright theme by Brandon Scullion
Our #SciFiJuly Presents #DystopianSummer continues with an interview with DEAD END DRIVE-IN director Brian Trenchard-Smith! From the beginnings with the script to the purchase of the movie by New World Pictures at the Cannes Film Festival, Brian tells us all about the journey of his film, while also telling tales about a few of his other films, including STRIKE OF THE PANTHER and THE MAN FROM HONG KONG! Perhaps fittingly, Brian spoke to us while sitting outside during a heat wave, but that didn't damper his spirits as told us about the importance of having a good mechanic, gave a sweet eulogy to the late, great Grant Page, and described how they shot two stunt sequences for DEAD END DRIVE-IN on the same day. Don't miss this interview with an exploitation legend!
Steve & Izzy continue a fairly random July, where guests (or hosts) pick their own movies, as they are joined by Chef Robby to discuss 1988's "Day of the Panther" starring Edward John Stazak, John Stanton & from friend of the podcast director Brian Trenchard-Smith!!! Who's the new actor that has joined the dispute for the Rockford Files reboot? Is Branding your members a wise choice for your secret society? Which actress has been dubbed Kirstie Aussie? Will we have any listeners from down under after our impressions?!? Let's find out!!! So kick back, grab a few brews, suppress your emotions, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
We kick off #SCI-FI-JULY Presents: Dystopian Summer with one of the all time classic Australian dystopian action films, 1986's DEAD END DRIVE IN. Directed by Brian Trenchard-Smith and starring Ned Manning and Natalie McCurry, DEAD END DRIVE IN has everything you want from a movie set in a dystopian future - crazy car chases, crazier outfits and a drive in movie theater where you can get in, but you can't get out. With a killer soundtrack and a wild set piece, it's hard not to love DEAD END DRIVE IN. We were so excited to talk about this movie that we had to break away from our usual episode structure. Why wait for "final questions" when we can ask throughout the episode? We talk about unconventional workout routines, Marc's love of Pepsi (of course), the evolution of drive-in theater technology, fashion forward hairstyles and blanket issues. This episode also holds the record for the most times we've said the word, "dystopian" in a single episode.
Watch out for that green electricity flying up your urine stream because we're discussing Brian Trenchard-Smith's 1997 sequel Leprechaun 4: In Space. Beaming up for this ridiculous venture are Mike and Bobby of the People Under the Scares podcast! Join us as we travel to planet Ithicon to witness the Leprechaun's new penisburster skill before trying to figure out just what the fuck is going on in this direct-to-video sequel. Plus: metal-head cyborg drag queens (yes, really), PlayStation 1-level CGI, gratuitous space nudity and many, many tangents. Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners > Trace: @tracedthurman > Joe: @bstolemyremote > The People Under the Scares: @People_Scares Be sure to support the boys on Patreon! Theme Music: Alexander Nakarada Learn more about your ad choices. Visit megaphone.fm/adchoices
Brian Trenchard-Smith, producer Marty Fink, and actor Richard Blackburn
“I think Vegas is the place where you also go to bury your mistakes and make new ones…” - Chris On this week's episode, we welcome back our Dead Meat buds, James A. Janisse and Chelsea Rebecca, to talk about the completely entertaining, direct-to-video horror sequel, Leprechaun 3! How amazingly does the Leprechaun fit right in when he gets to Las Vegas? How hysterically naive is this Scott fella when playing in the casino? Why does the Big Boss at this casino have his big, fancy, Boss Suite… on the third floor? And why does it take the Leprechaun so long to kill that pawn shop owner? PLUS: Where can we get a copy of this amazing folklore encyclopedia CD-ROM? Leprechaun 3 stars Warwick Davis, John Gatins, Lee Armstrong, John DeMita, Michael Callan, Marcelo Tubert, and Caroline Williams as Loretta; directed by Brian Trenchard-Smith. Be sure to catch us on tour this spring, gang! We'll be hitting Atlanta, Houston and Austin and we wanna see you come out! Head over to our tour page and get them tix! In Atlanta we're talking about Gerard Butler in Gamer, Houston is a W❤️M on Robocop 2, and in Austin we're doing another W❤️M celebrating the great Robert Rodriguez movie, From Dusk Till Dawn! Make the WHM Merch Store your one-stop shop for all your We Hate Movies merch-related needs! Including new Time Runner, Polish Decoy, ‘Jack Kirby', and Forrest the Universal Soldier designs!
This week Ken welcomes esteemed, accomplished director and author of the field guide/memoir "Adventures in the B-Movie Trade", Brian Trenchard-Smith to the show. Ken and Brian discuss the weather in Portland, Brian's travels around the world, his appreciation for everything he's gotten to do, visiting Soviet Russian in 1968, falling in love with cinema after seeing a Hitchcock film, how you should see a local movie in the native language in every country you visit, developing your taste in film, how the world is smaller, but not as substantive in many ways, forgetting your Italian accent, strange double features, taking acting classes with Barry Manilow, being only able to play a British Army Officer, knowing from age 13 you want to make movies, the closed show that was the British Film Industry, Australian television, editing Hammer Horror films, working for the ABC, editing sex and violence filled TV promos, sort of forging a recommendation letter, Raymond Burr, Ironsides, Number 96, Prisoner in Cell Block H, learning how cinema production worked, Beauty pageants for girls AND cars, Concourse Del Ellgance', stunts, making documentaries, Bruce Lee, Man from Hong King, Stunt Rock, why every young filmmaker needs a calling card, Hong Kong Cinema, cannibalizing your own films, World of Kung Fu (which no longer exists), Kung Fu Killers, editing news film and the pressure of it going down to the wire, news directors wanting to kill you, Japanese Cinema, Seven Samurai, Rashomon, being OBSESSED with trailers growing up, The Legend of the Seven Golden Vampires, visiting the set of Shatter, Roy Ward Baker, finding financing, hopping on a trend too late, the Bruce Lee clones, being bored by love scenes in films, parody, being subversive, hang gliders, Dead End Drive In, having to watch three hours of Once Upon a Time in the West so you can cut the trailer, Leprechaun in Space, enjoying the days when you physically handled film, enjoying your films with an audience, the 1988 Mission Impossible, Sahara with Jim Belushi, directing Flipper, being proud of different films for different reasons, Seconds to Spare, diehard on a train, replacing Dolph Lundgren with Antonio Sabato Jr, Happy Face Murders with Ann-Margaret, and the awe of making and watching Omega Code 2.
This week the boys converse about Amalgam Comics, burning books, and monkeys driving flying cars. And that is all before they even get into the plot of the movie. Hope you brought your appetite because we are about to gobble up 1982's Turkey Shoot. Warning…this is no film for chickens!Trailer: https://www.youtube.com/watch?v=qCg5cNqC31kIMDB: https://www.imdb.com/title/tt0082338/?ref_=tttg_ovLeave us a 30 second voicemail and if we like it we'll play it on the show: (949) 4-STABBY (949-478-2229)Like a book club but for dissecting obscure thriller, exploitation, and horror movies. Next movie announced every Wednesday. New episodes every Monday. Follow us on the things:Linktree: https://www.linktr.ee/stabbystabbyInstagram: @stabbypod https://www.instagram.com/stabbypod/Letterboxd: https://boxd.it/dp1ACGet the shirt: https://www.big-other.com/shop/p/stabby-stabby-podcast-tee
Brian Trenchard Smith talks to Andrew Staton about everything from almost filming Bruce Lee, giving Nicole Kidman her big break in movies and much more. His latest book Adventures In The B Movie Trade is available Buy your copy here on Amazon.com or from your local bookstore or wherever you get your books. In depth interview Brian Trenchard-Smith is the famous and prolific Anglo-Australian film/ television director, producer, and writer, renowned for epic movies on a budget. Quentin Tarantino calls him his “favourite obscure director.” Brian Trenchard Smith talks to Andrew Staton about everything from; Bruce Lee Golden Harvest Hong Kong George Lazenby on fire Jimmy Wang Yu in skydive death dive Sammo Hung Grant Page Nicole Kidman Mitzi Kapture Roger Ward Ayers Rock/ Uluru Dead End Drive-In BMX Bandits Silk Stalkings Sky High song Australian cinema Comedy Action cinema Stunts Fire stunt And much, much more Surprise phone guest appearance from outstanding actress Mitzi Kapture. Learn more about your ad choices. Visit megaphone.fm/adchoices
It's Popzara's Movie Time! Podcast Halloween Schlocktober!, our yearly dose of creepy movie mayhem! Our harrowing hosts Ethan “Bloodlust” Brehm and Nate “Entrails” Evans are your personal guides for this shocking smorgasbord of four shlocky horrors scraped direct from cinema's bottom-barrel that prove you don't need blockbuster budgets to have a good time. Also: listen for a special intro from none other than horror legend Ken Foree (Dawn of the Dead and one of the films listed below). Happy Halloween! The Movies: Shlock Til You Drop First up is 1986's Troll (the original and not the “best worst movie”), directed by effects guru John Carl Buechler (Friday the 13th Part VII: The New Blood, Ghoulies III: Ghoulies Go to College) that epitomizes the “high-concept / low-budget” genre of horror/comedy that ruled the 1980s home video circuit. Next is 1987's Street Trash, directed by Steadicam master J. Michael Muro (a favorite of James Cameron) and one of the most celebrated of all “melt movie” classics. Third is 1996's Leprechaun 4: In Space, directed by Brian Trenchard-Smith (one of Quentin Tarantino's favorites, apparently). It's not just the best of the Warwick Davis-starring franchise but among the most bat$h!t crazy concepts ever stitched together. Last is 1989's Phantom of the Mall: Eric's Revenge, a reworking of the Phantom mythos directed by Richard Friedman where the real star is the mall itself (RIP) and not an early appearance by Pauly Shore.
We head to Southeast Asia this week with Brian Trenchard Smith's 1989 Vietnam War Epic, The Siege of Firebase Gloria, Staring Wings Hauser, and R Lee Ermey.Facebook - https://www.facebook.com/ScuttlebuttMovieReviewsInstagram- https://www.instagram.com/scuttlebuttreviews/?hl=enYoutube -https://www.youtube.com/channel/UCwbgZzUyQc--6MUwA_CtFvQPatreon -https://www.patreon.com/Scuttlebuttpodcast
On this episode of They Live By Film, Adam, Chris, and Zach sit down to discuss two films by Ozploitation specialist, Brian Trenchard-Smith CHECK OUT OUR NEW YOUTUBE CHANNEL: https://www.youtube.com/@theylivebyfilm Adam's Letterboxd: https://letterboxd.com/TheOwls23/ Zach's Letterboxd: https://letterboxd.com/dharmabombs/ Chris' subreddit: https://www.reddit.com/r/personalhistoryoffilm
Marea Nocturna se sumerge en el fascinante mundo del cine australiano y neozelandés con una entrega que nos lleva de viaje “down under” y más allá. Exploramos los orígenes del cine fantástico aussie, nos adentramos en el terror ozploitation y en el mundo singular de Brian Trenchard-Smith. Del folk horror aussie a la vibrante renovación del cine de las antípodas en el siglo XXI con directores como The Spierig Brothers y Jennifer Kent. También nos damos un paseo por el cine fantástico y de terror de Nueva Zelanda, desde las obras pioneras hasta las rarezas.
Steve interviews prolific indie filmmaker Brian Trenchard-Smith, focusing on three of his best: "The Man from Hong Kong," "The Siege at Firebase Gloria," and "Britannic."
On this episode, your intrepid host falls down a rabbit hole while doing research for one thing, and ends up discovering something "new" that must be investigated further, the 1987 action/comedy Oklahoma Smugglers. ----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. You were probably expecting the third part of the Miramax Films in the 1980s series, and we will get to that one the next episode. But as often happens while I'm researching, I'll fall down a rabbit hole that piques my interest, and this time, it was not only discovering a film I had never heard of, but it fits within a larger discussion about disappearing media. But before we get started, I need to send out a thank you to Matthew Martin, who contacted me via email after our previous episode. I had mentioned I couldn't find any American playdates for the Brian Trenchard-Smith movie The Quest around the time of its supposed release date of May 1st, 1986. Matthew sent me an ad from the local Spokane newspaper The Spokesman-Review dated July 18th, 1986, which shows the movie playing on two screens in Spokane, including a drive-in where it shared a screen with “co-hit” Young Sherlock Holmes. With that help, I was also able to find The Quest playing on five screens in the Seattle/Tacoma area and two in Spokane on July 11th, where it grossed a not very impressive $14,200. In its second week in the region, it would drop down to just three screens, and the gross would fall to just $2800, before disappearing at the end of that second week. Thank you to Matthew for that find, which gave me an idea. On a lark, I tried searching for the movie again, this time using the director's last name and any day in 1986, and ended up finding 35 playdates for The Quest in Los Angeles, matinees only on Saturday, October 25th and Sunday, October 26th, one to three shows each day on just those two days. Miramax did not report grosses. And this is probably the most anyone has talked about The Quest and its lack of American box office. And with that, we're done with it. For now. On this episode, we're going to talk about one of the many movies from the 1980s that has literally disappeared from the landscape. What I mean by that is that it was an independently made film that was given a Southern regional release in the South in 1987, has never been released on video since its sole VHS release in 1988, and isn't available on any currently widely used video platform, physical or streaming. I'll try to talk about this movie, Oklahoma Smugglers, as much as I can in a moment, but this problem of disappearing movies has been a problem for nearly a century. I highlight this as there has been a number of announcements recently about streaming-only shows and movies being removed from their exclusive streaming platform, some just seven weeks after their premieres. This is a problem. Let me throw some statistics at you. Film Foundation, a non-profit organization co-founded by Martin Scorsese in 1990 that is dedicated to film preservation and the exhibition of restored and classic cinema, has estimated that half of all the films ever made before 1950 no longer exist in any form, and that only 10% of the films produced before the dawn of the sound era of films are gone forever. The Deutsche Kinemathek, a major film archive founded in Berlin in 1963, also estimates that 80-90% of all silent films ever have been lost, a number that's a bit higher than the US Library of Congress's estimation that 75% of all silent film are gone. That includes more than 300 of Georges Méliès' 500 movies, a 1926 film, The Mountain Eagle, that was the second film directed by Alfred Hitchcock, and London After Midnight, considered by many film historians to be “the holy grail” of lost films. A number of films from directors like Michael Curtiz, Allan Dwan, and Leo McCarey are gone. And The Betrayal, the final film from pioneering Black filmmaker Oscar Micheaux, is no longer with us. There are a number of reasons why many of these early movies are gone. Until the early 1950s, movies were often shot and printed on nitrate film, a highly flammable substance that can continue to burn even if completely submersed in water. During the earlier years of Hollywood, there were a number of fires on studio lots and in film vaults were original negatives of films were stored. Sometimes, studios would purposely incinerate old prints of films to salvage the silver particles within the nitrate film. Occasionally, a studio would destroy an older film when they remade that film with a new cast and director. And sometimes films, like Orson Welles' original cut of The Magnificent Ambersons, would be dumped into the ocean off the Southern California coast, when studios no longer wanted to pay to store these elements. Except Oklahoma Smugglers does not fit into any of those scenarios. It's less than forty years old, in color, with a synchronized soundtrack. It's crime was being a small budgeted independently distributed movie from an independent production company that was only released in a small section of the United States, and never got any traction outside of that region. Not that this alone is why it disappeared. You may recall hearing about David Zaslav, the head of the mega entertainment conglomerate Warner Brothers Discovery, cancelling the release of two completed films, a Batgirl movie that would have featured Michael Keaton's return as Batman a full year before The Flash, and a sequel to a fairly successful Scooby Doo animated movie. Warner Brothers had spent more than $200m between the two films. They were shot, edited and scored, and ready for release. Then Zaslav decided these were of the quality he expected for Warner Brothers movies, and wrote them off for the tax break. Unless someone at Warners somewhere down the line decides to pay back the tax incentive to the Fed, these two movies will never legally be allowed to be shown, effectively making them lost films. Again, there are many ways for a film to become lost. In our case, it seems that Oklahoma Smugglers is an unfortunate victim of being the one and only film to be produced by Cambridge Entertainment Corporation, based in Needham MA. The company was founded on September 10th, 1986 and went into involuntary dissolution on December 31st, 1990, so it's very likely that the company went bankrupt and no company was interested in picking up the assets of a small independent production company with only one tangible asset, this movie. So here is what I could find about Oklahoma Smugglers. The film was produced and directed by Ota Richter, whose only previous film work was writing, producing a directing a horror comedy called Skullduggery in 1982. The film has its fans, but they are few and far between. Three years later, in 1985, Richter would work with a first time screenwriter named Sven Simon to come up with the story for Oklahoma Smugglers. When the script was completed, Richter would raise the money he would need to shoot the movie in Toronto with a no-name cast lead by George Buzz and John Novak, and a four week production schedule between February 24th and March 21st, 1986. One can presume the film was locked before September 10th, 1986, when Cambridge Entertainment Corporation was founded, with Ota Rickter as its treasurer. The other two members of the Cambridge board, company President Neil T. Evans, and company Secretary Robert G. Parks, appear to have not had any involvement with the making of the movie, and according to the Open Corporates database, the men had never worked together before and never worked together again after this company. But what Neil Evans did have, amongst the six companies he was operating in and around the Boston area at the time, was a independent distribution company called Sharp Features, which he had founded in April of 1981, and had already distributed five other movies, including the Dick Shawn comedy Good-bye Cruel World, which apparently only played in Nashville TN in September 1982, and a 1985 documentary about The Beach Boys. So after a year of shopping the film around the major studios and bigger independent distributors, the Cambridge team decided to just release it themselves through Sharp Features. They would place an ad in the September 16th, 1987 issue of Variety, announcing the film, quote unquote, opens the Southeast on September 18th, just two days later. Now, you'll notice I was able to find a lot of information about the people behind the film. About the companies they created or had already created to push the film out into the market. The dates it filmed, and where it filmed. I have a lot of sources both online and in my office with more data about almost every film ever released. But what I can't tell you is if the film actually did open on September 18th, 1987. Or how many theatres it played in. Or how much it grossed that first weekend. Or if any theatres retained it for a second week. Or any reviews of the movie from any contemporary newspaper or magazine. Outside of the same one single sentence synopsis of the movie, I had to turn to a Finnish VHS release of the film for a more detailed synopsis, which roughly translates back into English as such: “Former Marines Hugo and Skip are living the best days of their lives. Hugo is a real country boy and Skip again from a "better family." Together they are a perfect pair: where Skip throws, Hugo hurls his fists. Mr. Milk, who offers security services, takes them on. Mr. Milk's biggest dream is to get hold of his nemesis "Oklahoma Smuggler" Taip's most cherished asset - a lucrative casino. Mr. Taip is not only a casino owner, but he handles everything possible, from arms smuggling to drugs. The fight for the ownership of the Oklahoma Smuggler casino is a humorous mix of fistfights, intrigues and dynamite where Hugo and Skip get the hero's part. What happens to the casino is another matter.” Okay, that sounds like absolute crap. But here's the thing. I actually enjoy checking out low budget movies that might not be very good but are at least trying to be something. I would be very interested in seeing a movie like Oklahoma Smugglers. But I can't the darn thing anywhere. It's not posted to YouTube or Vimeo or any video sharing service I know of. It's not on The Internet Archive. It's not on any of the Russian video sites that I occasionally find otherwise hard to find movies. There's no entry for the film on Wikipedia or on Rotten Tomatoes. There is an IMDb page for the film, with a grand total of one user rating and one user review, both from the same person. There's also only one rating and mini-review of it on Letterboxd, also from the same person. There is a page for the film on the Plex website, but no one has the actual film. This film has, for all intents and purposes, vanished. Is that a good thing? Absolutely not. While it's highly likely Oklahoma Smugglers is not a very good movie, there's also a chance it might actually be stupid, goofy fun, and even if its a low quality dupe off a VHS tape, it should be available for viewing. There should be some kind of movie repository that has every movie still around that is in the public domain be available for viewing. Or if the owners of a movie with a still enforceable copyright have basically abandoned said copyright by not making the film available for consumption after a certain amount of time or for a certain amount of time, it also become available. This would not only help films like Oklahoma Smugglers be discovered, but it would also give film lovers the chance to see many movies they've heard about but have never had the opportunity to see. Even the original theatrical version of the first three Star Wars movies are no longer available commercially. Outside of a transfer of the early 1990s laserdisc to DVD in 2004, no one has been able to see the original versions in nearly twenty years. The closest one can get now are fan created “Despecialized” editions on the internet. Film fans tend to think of film as a forever medium, but it's becoming ever increasingly clear that it far from that. And we're not just talking about American movies either. When I said it is estimated that half the films ever made are considered lost, that includes movies from all corners of the globe, across several generations. From Angola and Australia to the former Yugoslavia and Zambia. Gone forever. But every once in a while, a forgotten film can come back to life. Case in point, The Exiles, a 1958 film written, produced and directed by Kent Mackenzie, about a group of Native Americans who have left their reservation in search of a new life in Los Angeles' Bunker Hill neighborhood. After premiering at the 1961 Venice Film Festival, the film was never picked up for theatrical distribution, and for many years, the only way to see it was the occasional screening of the film as some college film society screening of the one 16mm print of the film that was still around. Cinephiles were aware of the film, but it wouldn't be until the exceptional 2004 video essay Los Angeles Plays Itself by Thom Anderson that many, including myself, even learned of the film's existence. It would take another four years of legal maneuvering for Milestone Films to finally give The Exiles a proper theatrical and home video release. The following year, in 2009, with new public exposure to the film, the Library of Congress included The Exiles on their National Film Registry, for being of culturally, historically or aesthetically" significance. In the case of The Exiles, much of Bunker Hill was torn down shortly after the making of the film, so in many ways, The Exiles is a living visual history of an area of Los Angeles that no longer exists in that way. It's a good film regardless, but as a native Angelino, I find The Exiles to be fascinating for all these places that disappeared in just a few short years before my own birth. So, that's the episode for this week. Thank you for joining us. We'll talk again next week, when we continue our miniseries on Miramax Films in the 1980s. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Oklahoma Smugglers. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
The master of car chase action meets Golden Harvest's golden boy Jimmy Wang Yu, and throws in a former Bond for good measure. It's Brian Trenchard Smith's Man from Hong Kong! Check out Punches and Popcorn on social media:Twitter: @punchesnpopcornInstagram: @punchesnpopcornAnd if you like what you hear, don't forget to rate, review and subscribe!
On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s, specifically looking at the films they released between 1984 and 1986. ----more---- TRANSCRIPT From Los Angeles, California. The Entertainment Capital of the World. It's the 80s Movie Podcast. I am your host, Edward Havens. Thank you for listening today. On this episode, we are continuing our miniseries on the movies released by Miramax Films in the 1980s. And, in case you did not listen to Part 1 yet, let me reiterate that the focus here will be on the films and the creatives, not the Weinsteins. The Weinsteins did not have a hand in the production of any of the movies Miramax released in the 1980s, and that Miramax logo and the names associated with it should not stop anyone from enjoying some very well made movies because they now have an unfortunate association with two spineless chucklenuts who proclivities would not be known by the outside world for decades to come. Well, there is one movie this episode where we must talk about the Weinsteins as the creatives, but when talking about that film, “creatives” is a derisive pejorative. We ended our previous episode at the end of 1983. Miramax had one minor hit film in The Secret Policeman's Other Ball, thanks in large part to the film's association with members of the still beloved Monty Python comedy troupe, who hadn't released any material since The Life of Brian in 1979. 1984 would be the start of year five of the company, and they were still in need of something to make their name. Being a truly independent film company in 1984 was not easy. There were fewer than 20,000 movie screens in the entire country back then, compared to nearly 40,000 today. National video store chains like Blockbuster did not exist, and the few cable channels that did exist played mostly Hollywood films. There was no social media for images and clips to go viral. For comparison's sake, in A24's first five years, from its founding in August 2012 to July 2017, the company would have a number of hit films, including The Bling Ring, The Lobster, Spring Breakers, and The Witch, release movies from some of indie cinema's most respected names, including Andrea Arnold, Robert Eggers, Atom Egoyan, Daniel Kwan and Daniel Scheinert, Lynn Shelton, Trey Edward Shults, Gus Van Sant, and Denis Villeneuve, and released several Academy Award winning movies, including the Amy Winehouse documentary Amy, Alex Garland's Ex Machina, Lenny Abrahamson's Room and Barry Jenkins' Moonlight, which would upset front runner La La Land for the Best Picture of 2016. But instead of leaning into the American independent cinema world the way Cinecom and Island were doing with the likes of Jonathan Demme and John Sayles, Miramax would dip their toes further into the world of international cinema. Their first release for 1984 would be Ruy Guerra's Eréndira. The screenplay by Nobel Prize winner Gabriel García Márquez was based on his 1972 novella The Incredible and Sad Tale of Innocent Eréndira and Her Heartless Grandmother, which itself was based off a screenplay Márquez had written in the early 1960s, which, when he couldn't get it made at the time, he reduced down to a page and a half for a sequence in his 1967 magnum opus One Hundred Years of Solitude. Between the early 1960s and the early 1980s, Márquez would lose the original draft of Eréndira, and would write a new script based off what he remembered writing twenty years earlier. In the story, a young woman named Eréndira lives in a near mansion situation in an otherwise empty desert with her grandmother, who had collected a number of paper flowers and assorted tchotchkes over the years. One night, Eréndira forgets to put out some candles used to illuminate the house, and the house and all of its contents burn to the ground. With everything lost, Eréndira's grandmother forces her into a life of prostitution. The young woman quickly becomes the courtesan of choice in the region. With every new journey, an ever growing caravan starts to follow them, until it becomes for all intents and purposes a carnival, with food vendors, snake charmers, musicians and games of chance. Márquez's writing style, known as “magic realism,” was very cinematic on the page, and it's little wonder that many of his stories have been made into movies and television miniseries around the globe for more than a half century. Yet no movie came as close to capturing that Marquezian prose quite the way Guerra did with Eréndira. Featuring Greek goddess Irene Papas as the Grandmother, Brazilian actress Cláudia Ohana, who happened to be married to Guerra at the time, as the titular character, and former Bond villain Michael Lonsdale in a small but important role as a Senator who tries to help Eréndira get out of her life as a slave, the movie would be Mexico's entry into the 1983 Academy Award race for Best Foreign Language Film. After acquiring the film for American distribution, Miramax would score a coup by getting the film accepted to that year's New York Film Festival, alongside such films as Robert Altman's Streamers, Jean Lucy Godard's Passion, Lawrence Kasdan's The Big Chill, Francis Ford Coppola's Rumble Fish, and Andrzej Wajda's Danton. But despite some stellar reviews from many of the New York City film critics, Eréndira would not get nominated for Best Foreign Language Film, and Miramax would wait until April 27th, 1984, to open the film at the Lincoln Plaza Cinemas, one of the most important theatres in New York City at the time to launch a foreign film. A quarter page ad in the New York Times included quotes from the Village Voice, New York Magazine, Vincent Canby of the Times and Roger Ebert, the movie would gross an impressive $25,500 in its first three days. Word of mouth in the city would be strong, with its second weekend gross actually increasing nearly 20% to $30,500. Its third weekend would fall slightly, but with $27k in the till would still be better than its first weekend. It wouldn't be until Week 5 that Eréndira would expand into Los Angeles and Chicago, where it would continue to gross nearly $20k per screen for several more weeks. The film would continue to play across the nation for more than half a year, and despite never making more than four prints of the film, Eréndira would gross more than $600k in America, one of the best non-English language releases for all of 1984. In their quickest turnaround from one film to another to date, Miramax would release Claude Lelouch's Edith and Marcel not five weeks after Eréndira. If you're not familiar with the name Claude Chabrol, I would highly suggest becoming so. Chabrol was a part of the French New Wave filmmakers alongside Jean-Luc Godard, Jacques Rivette, Éric Rohmer, and François Truffaut who came up as film critics for the influential French magazine Cahiers [ka-yay] du Cinéma in the 1950s, who would go on to change the direction of French Cinema and how film fans appreciated films and filmmakers through the concept of The Auteur Theory, although the theory itself would be given a name by American film critic Andrew Sarris in 1962. Of these five critics turned filmmakers, Chabrol would be considered the most prolific and commercial. Chabrol would be the first of them to make a film, Le Beau Serge, and between 1957 and his death in 2010, he would make 58 movies. That's more than one new movie every year on average, not counting shorts and television projects he also made on the side. American audiences knew him best for his 1966 global hit A Man and a Woman, which would sell more than $14m in tickets in the US and would be one of the few foreign language films to earn Academy Award nominations outside of the Best Foreign Language Film race. Lead actress Anouk Aimee would get a nod, and Chabrol would earn two on the film, for Best Director, which he would lose to Fred Zimmerman and A Man for All Seasons, and Best Original Screenplay, which he would win alongside his co-writer Pierre Uytterhoeven. Edith and Marcel would tell the story of the love affair between the iconic French singer Edith Piaf and Marcel Cerdan, the French boxer who was the Middleweight Champion of the World during their affair in 1948 and 1949. Both were famous in their own right, but together, they were the Brangelina of post-World War II France. Despite the fact that Cerdan was married with three kids, their affair helped lift the spirits of the French people, until his death in October 1949, while he was flying from Paris to New York to see Piaf. Fans of Raging Bull are somewhat familiar with Marcel Cerdan already, as Cerdan's last fight before his death would find Cerdan losing his middleweight title to Jake LaMotta. In a weird twist of fate, Patrick Dewaere, the actor Chabrol cast as Cerdan, committed suicide just after the start of production, and while Chabrol considered shutting down the film in respect, it would be none other than Marcel Cerdan, Jr. who would step in to the role of his own father, despite never having acted before, and being six years older than his father was when he died. When it was released in France in April 1983, it was an immediate hit, become the second highest French film of the year, and the sixth highest grosser of all films released in the country that year. However, it would not be the film France submitted to that year's Academy Award race. That would be Diane Kurys' Entre Nous, which wasn't as big a hit in France but was considered a stronger contender for the nomination, in part because of Isabelle Hupert's amazing performance but also because Entre Nous, as 110 minutes, was 50 minutes shorter than Edith and Marcel. Harvey Weinstein would cut twenty minutes out of the film without Chabrol's consent or assistance, and when the film was released at the 57th Street Playhouse in New York City on Sunday, June 3rd, the gushing reviews in the New York Times ad would actually be for Chabrol's original cut, and they would help the film gross $15,300 in its first five days. But once the other New York critics who didn't get to see the original cut of the film saw this new cut, the critical consensus started to fall. Things felt off to them, and they would be, as a number of short trims made by Weinstein would remove important context for the film for the sake of streamlining the film. Audiences would pick up on the changes, and in its first full weekend of release, the film would only gross $12k. After two more weeks of grosses of under $4k each week, the film would close in New York City. Edith and Marcel would never play in another theatre in the United States. And then there would be another year plus long gap before their next release, but we'll get into the reason why in a few moments. Many people today know Rubén Blades as Daniel Salazar in Fear the Walking Dead, or from his appearances in The Milagro Beanfield War, Once Upon a Time in Mexico, or Predator 2, amongst his 40 plus acting appearances over the years, but in the early 1980s, he was a salsa and Latin Jazz musician and singer who had yet to break out of the New Yorican market. With an idea for a movie about a singer and musician not unlike himself trying to attempt a crossover success into mainstream music, he would approach his friend, director Leon Icasho, about teaming up to get the idea fleshed out into a real movie. Although Blades was at best a cult music star, and Icasho had only made one movie before, they were able to raise $6m from a series of local investors including Jack Rollins, who produced every Woody Allen movie from 1969's Take the Money and Run to 2015's Irrational Man, to make their movie, which they would start shooting in the Spanish Harlem section of New York City in December 1982. Despite the luxury of a large budget for an independent Latino production, the shooting schedule was very tight, less than five weeks. There would be a number of large musical segments to show Blades' character Rudy's talents as a musician and singer, with hundreds of extras on hand in each scene. Icasho would stick to his 28 day schedule, and the film would wrap up shortly after the New Year. Even though the director would have his final cut of the movie ready by the start of summer 1983, it would take nearly a year and a half for any distributor to nibble. It wasn't that the film was tedious. Quite the opposite. Many distributors enjoyed the film, but worried about, ironically, the ability of the film to crossover out of the Latino market into the mainstream. So when Miramax came along with a lower than hoped for offer to release the film, the filmmakers took the deal, because they just wanted the film out there. Things would start to pick up for the film when Miramax submitted the film to be entered into the 1985 Cannes Film Festival, and it would be submitted to run in the prestigious Directors Fortnight program, alongside Mike Newell's breakthrough film, Dance with a Stranger, Victor Nunez's breakthrough film, A Flash of Green, and Wayne Wang's breakthrough film Dim Sum: A Little Bit of Heart. While they were waiting for Cannes to get back to them, they would also learn the film had been selected to be a part of The Lincoln Center's New Directors/New Films program, where the film would earn raves from local critics and audiences, especially for Blades, who many felt was a screen natural. After more praise from critics and audiences on the French Riviera, Miramax would open Crossover Dreams at the Cinema Studio theatre in midtown Manhattan on August 23rd, 1985. Originally booked into the smaller 180 seat auditorium, since John Huston's Prizzi's Honor was still doing good business in the 300 seat house in its fourth week, the theatre would swap houses for the films when it became clear early on Crossover Dreams' first day that it would be the more popular title that weekend. And it would. While Prizzi would gross a still solid $10k that weekend, Crossover Dreams would gross $35k. In its second weekend, the film would again gross $35k. And in its third weekend, another $35k. They were basically selling out every seat at every show those first three weeks. Clearly, the film was indeed doing some crossover business. But, strangely, Miramax would wait seven weeks after opening the film in New York to open it in Los Angeles. With a new ad campaign that de-emphasized Blades and played up the dreamer dreaming big aspect of the film, Miramax would open the movie at two of the more upscale theatres in the area, the Cineplex Beverly Center on the outskirts of Beverly Hills, and the Cineplex Brentwood Twin, on the west side where many of Hollywood's tastemakers called home. Even with a plethora of good reviews from the local press, and playing at two theatres with a capacity of more than double the one theatre playing the film in New York, Crossover Dreams could only manage a neat $13k opening weekend. Slowly but surely, Miramax would add a few more prints in additional major markets, but never really gave the film the chance to score with Latino audiences who may have been craving a salsa-infused musical/drama, even if it was entirely in English. Looking back, thirty-eight years later, that seems to have been a mistake, but it seems that the film's final gross of just $250k after just ten weeks of release was leaving a lot of money on the table. At awards time, Blades would be nominated for an Independent Spirit Award for Best Actor, but otherwise, the film would be shut out of any further consideration. But for all intents and purposes, the film did kinda complete its mission of turning Blades into a star. He continues to be one of the busiest Latino actors in Hollywood over the last forty years, and it would help get one of his co-stars, Elizabeth Peña, a major job in a major Hollywood film the following year, as the live-in maid at Richard Dreyfuss and Bette Midler's house in Paul Mazursky's Down and Out in Beverly Hills, which would give her a steady career until her passing in 2014. And Icasho himself would have a successful directing career both on movie screens and on television, working on such projects as Miami Vice, Crime Story, The Equalizer, Criminal Minds, and Queen of the South, until his passing this past May. I'm going to briefly mention a Canadian drama called The Dog Who Stopped the War that Miramax released on three screens in their home town of Buffalo on October 25th, 1985. A children's film about two groups of children in a small town in Quebec during their winter break who get involved in an ever-escalating snowball fight. It would be the highest grossing local film in Canada in 1984, and would become the first in a series of 25 family films under a Tales For All banner made by a company called Party Productions, which will be releasing their newest film in the series later this year. The film may have huge in Canada, but in Buffalo in the late fall, the film would only gross $15k in its first, and only, week in theatres. The film would eventually develop a cult following thanks to repeated cable screenings during the holidays every year. We'll also give a brief mention to an Australian action movie called Cool Change, directed by George Miller. No, not the George Miller who created the Mad Max series, but the other Australian director named George Miller, who had to start going by George T. Miller to differentiate himself from the other George Miller, even though this George Miller was directing before the other George Miller, and even had a bigger local and global hit in 1982 with The Man From Snowy River than the other George Miller had with Mad Max II, aka The Road Warrior. It would also be the second movie released by Miramax in a year starring a young Australian ingenue named Deborra-Lee Furness, who was also featured in Crossover Dreams. Today, most people know her as Mrs. Hugh Jackman. The internet and several book sources say the movie opened in America on March 14th, 1986, but damn if I can find any playdate anywhere in the country, period. Not even in the Weinsteins' home territory of Buffalo. A critic from the Sydney Morning Herald would call the film, which opened in Australia four weeks after it allegedly opened in America, a spectacularly simplistic propaganda piece for the cattle farmers of the Victorian high plains,” and in its home country, it would barely gross 2% of its $3.5m budget. And sticking with brief mentions of Australian movies Miramax allegedly released in American in the spring of 1986, we move over to one of three movies directed by Brian Trenchard-Smith that would be released during that year. In Australia, it was titled Frog Dreaming, but for America, the title was changed to The Quest. The film stars Henry Thomas from E.T. as an American boy who has moved to Australia to be with his guardian after his parents die, who finds himself caught up in the magic of a local Aboriginal myth that might be more real than anyone realizes. And like Cool Change, I cannot find any American playdates for the film anywhere near its alleged May 1st, 1986 release date. I even contacted Mr. Trenchard-Smith asking him if he remembers anything about the American release of his film, knowing full well it's 37 years later, but while being very polite in his response, he was unable to help. Finally, we get back to the movies we actually can talk about with some certainty. I know our next movie was actually released in American theatres, because I saw it in America at a cinema. Twist and Shout tells the story of two best friends, Bjørn and Erik, growing up in suburbs of Copenhagen, Denmark in 1963. The music of The Beatles, who are just exploding in Europe, help provide a welcome respite from the harsh realities of their lives. Directed by Billie August, Twist and Shout would become the first of several August films to be released by Miramax over the next decade, including his follow-up, which would end up become Miramax's first Oscar-winning release, but we'll be talking about that movie on our next episode. August was often seen as a spiritual successor to Ingmar Bergman within Scandinavian cinema, so much so that Bergman would handpick August to direct a semi-autobiographical screenplay of his, The Best Intentions, in the early 1990s, when it became clear to Bergman that he would not be able to make it himself. Bergman's only stipulation was that August would need to cast one of his actresses from Fanny and Alexander, Pernilla Wallgren, as his stand-in character's mother. August and Wallgren had never met until they started filming. By the end of shooting, Pernilla Wallgren would be Pernilla August, but that's another story for another time. In a rare twist, Twist and Shout would open in Los Angeles before New York City, at the Cineplex Beverly Center August 22nd, 1986, more than two years after it opened across Denmark. Loaded with accolades including a Best Picture Award from the European Film Festival and positive reviews from the likes of Gene Siskel and Michael Wilmington, the movie would gross, according to Variety, a “crisp” $14k in its first three days. In its second weekend, the Beverly Center would add a second screen for the film, and the gross would increase to $17k. And by week four, one of those prints at the Beverly Center would move to the Laemmle Monica 4, so those on the West Side who didn't want to go east of the 405 could watch it. But the combined $13k gross would not be as good as the previous week's $14k from the two screens at the Beverly Center. It wouldn't be until Twist and Shout's sixth week of release they would finally add a screen in New York City, the 68th Street Playhouse, where it would gross $25k in its first weekend there. But after nine weeks, never playing in more than five theatres in any given weekend, Twist and Shout was down and out, with only $204k in ticket sales. But it was good enough for Miramax to acquire August's next movie, and actually get it into American theatres within a year of its release in Denmark and Sweden. Join us next episode for that story. Earlier, I teased about why Miramax took more than a year off from releasing movies in 1984 and 1985. And we've reached that point in the timeline to tell that story. After writing and producing The Burning in 1981, Bob and Harvey had decided what they really wanted to do was direct. But it would take years for them to come up with an idea and flesh that story out to a full length screenplay. They'd return to their roots as rock show promoters, borrowing heavily from one of Harvey's first forays into that field, when he and a partner, Corky Burger, purchased an aging movie theatre in Buffalo in 1974 and turned it into a rock and roll hall for a few years, until they gutted and demolished the theatre, so they could sell the land, with Harvey's half of the proceeds becoming much of the seed money to start Miramax up. After graduating high school, three best friends from New York get the opportunity of a lifetime when they inherit an old run down hotel upstate, with dreams of turning it into a rock and roll hotel. But when they get to the hotel, they realize the place is going to need a lot more work than they initially realized, and they realize they are not going to get any help from any of the locals, who don't want them or their silly rock and roll hotel in their quaint and quiet town. With a budget of only $5m, and a story that would need to be filmed entirely on location, the cast would not include very many well known actors. For the lead role of Danny, the young man who inherits the hotel, they would cast Daniel Jordano, whose previous acting work had been nameless characters in movies like Death Wish 3 and Streetwalkin'. This would be his first leading role. Danny's two best friends, Silk and Spikes, would be played by Leon W. Grant and Matthew Penn, respectively. Like Jordano, both Grant and Penn had also worked in small supporting roles, although Grant would actually play characters with actual names like Boo Boo and Chollie. Penn, the son of Bonnie and Clyde director Arthur Penn, would ironically have his first acting role in a 1983 musical called Rock and Roll Hotel, about a young trio of musicians who enter a Battle of the Bands at an old hotel called The Rock and Roll Hotel. This would also be their first leading roles. Today, there are two reasons to watch Playing For Keeps. One of them is to see just how truly awful Bob and Harvey Weinstein were as directors. 80% of the movie is master shots without any kind of coverage, 15% is wannabe MTV music video if those videos were directed by space aliens handed video cameras and not told what to do with them, and 5% Jordano mimicking Kevin Bacon in Footloose but with the heaviest New Yawk accent this side of Bensonhurst. The other reason is to watch a young actress in her first major screen role, who is still mesmerizing and hypnotic despite the crapfest she is surrounded by. Nineteen year old Marisa Tomei wouldn't become a star because of this movie, but it was clear very early on she was going to become one, someday. Mostly shot in and around the grounds of the Bethany Colony Resort in Bethany PA, the film would spend six weeks in production during June and July of 1984, and they would spend more than a year and a half putting the film together. As music men, they knew a movie about a rock and roll hotel for younger people who need to have a lot of hip, cool, teen-friendly music on the soundtrack. So, naturally, the Weinsteins would recruit such hip, cool, teen-friendly musicians like Pete Townshend of The Who, Phil Collins, Peter Frampton, Sister Sledge, already defunct Duran Duran side project Arcadia, and Hinton Battle, who had originated the role of The Scarecrow in the Broadway production of The Wiz. They would spend nearly $500k to acquire B-sides and tossed away songs that weren't good enough to appear on the artists' regular albums. Once again light on money, Miramax would sent the completed film out to the major studios to see if they'd be willing to release the movie. A sale would bring some much needed capital back into the company immediately, and creating a working relationship with a major studio could be advantageous in the long run. Universal Pictures would buy the movie from Miramax for an undisclosed sum, and set an October 3rd release. Playing For Keeps would open on 1148 screens that day, including 56 screens in the greater Los Angeles region and 80 in the New York City metropolitan area. But it wasn't the best week to open this film. Crocodile Dundee had opened the week before and was a surprise hit, spending a second week firmly atop the box office charts with $8.2m in ticket sales. Its nearest competitor, the Burt Lancaster/Kirk Douglas comedy Tough Guys, would be the week's highest grossing new film, with $4.6m. Number three was Top Gun, earning $2.405m in its 21st week in theatres, and Stand By Me was in fourth in its ninth week with $2.396m. In fifth place, playing in only 215 theatres, would be another new opener, Children of a Lesser God, with $1.9m. And all the way down in sixth place, with only $1.4m in ticket sales, was Playing for Keeps. The reviews were fairly brutal, and by that, I mean they were fair in their brutality, although you'll have to do some work to find those reviews. No one has ever bothered to link their reviews for Playing For Keeps at Rotten Tomatoes or Metacritic. After a second weekend, where the film would lose a quarter of its screens and 61% of its opening weekend business, Universal would cut its losses and dump the film into dollar houses. The final reported box office gross on the film would be $2.67m. Bob Weinstein would never write or direct another film, and Harvey Weinstein would only have one other directing credit to his name, an animated movie called The Gnomes' Great Adventure, which wasn't really a directing effort so much as buying the American rights to a 1985 Spanish animated series called The World of David the Gnome, creating new English language dubs with actors like Tom Bosley, Frank Gorshin, Christopher Plummer, and Tony Randall, and selling the new versions to Nickelodeon. Sadly, we would learn in October 2017 that one of the earliest known episodes of sexual harassment by Harvey Weinstein happened during the pre-production of Playing for Keeps. In 1984, a twenty year old college junior Tomi-Ann Roberts was waiting tables in New York City, hoping to start an acting career. Weinstein, who one of her customers at this restaurant, urged Ms. Roberts to audition for a movie that he and his brother were planning to direct. He sent her the script and asked her to meet him where he was staying so they could discuss the film. When she arrived at his hotel room, the door was left slightly ajar, and he called on her to come in and close the door behind her. She would find Weinstein nude in the bathtub, where he told her she would give a much better audition if she were comfortable getting naked in front of him too, because the character she might play would have a topless scene. If she could not bare her breasts in private, she would not be able to do it on film. She was horrified and rushed out of the room, after telling Weinstein that she was too prudish to go along. She felt he had manipulated her by feigning professional interest in her, and doubted she had ever been under serious consideration. That incident would send her life in a different direction. In 2017, Roberts was a psychology professor at Colorado College, researching sexual objectification, an interest she traces back in part to that long-ago encounter. And on that sad note, we're going to take our leave. Thank you for joining us. We'll talk again next week, when we continue with story of Miramax Films, from 1987. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about the movies we covered this episode. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
This episode allows Troy and I answer a few emails and dart down a couple of rabbit holes that they bring to mind. We talk about giant bug movies, Brian Trenchard-Smith's career and post apocalyptic movies. A past guest on the show writes in to point out a missed opportunity to discuss MAD MAX BEYOND THUNDERDOME! I take the chance to offer a mea culpa about not discussing an important connection between two of the cast members of THE SPIDER WOMAN. I was aware the pair's previous work together but I skipped that part of my notes during our recording session. My only excuse is that I'm a major fan of the film in question and if you think the conversation in this episode ranges far and wide – whew. Talking about one of the greatest adventure films of all time just in passing would have been very difficult! Thank you for listening and we'll be back on track with a normal episode soon. If you want to contribute to the email-bag thebloodypit@gmail.com is the place to write.
This week on S&A we are on part two of our Aussie Series. Lindsay is joined by Carmelita Valdez McKoy for a full throttle Double of Brian Trenchard-Smith's BMX Bandits (1983) & George Miller's Road Warrior (1981).
This time on The Honeywell Experiment, Thomas and his test/torture subject, Chris Honeywell welcome back legendary director BRIAN TRENCHARD-SMITH to look at an Ozploitation classic that was thought to be lost for many years – 1971’s WAKE IN FRIGHT!
Certified Australian Rhys (aka FlemishDog) is back to discuss two of the most Australian films ever made, Death Cheaters and Stunt Rock, both written and directed by the most Australian filmmaker, Brian Trenchard-Smith, and starring the most Australian stuntman/actor ever, Grant Page. Don't worry about spoilers in this episode because these films barely have plots, but who needs plots when you have WICKED STUNTS AND HEAVY METAL.
We discuss the preeminent director of the Australian genre film: Brian Trenchard Smith. Join the Patreon now for an exclusive episode every week, access to our entire Patreon Episode back catalogue, your name read out on the next episode, and the friendly Discord chat: patreon.com/theimportantcinemaclub Subscribe, Review and Rate Us on Apple Podcasts: podcasts.apple.com/us/podcast/the-…ub/id1067435576 Follow the Podcast: twitter.com/ImprtCinemaClub Follow Will: twitter.com/WillSloanESQ Follow Justin: twitter.com/DeclouxJ Check out Justin's other podcasts, THE BAY STREET VIDEO PODCAST (@thebaystreetvideopodcast), THE VERY FINE COMIC BOOK PODCAST (www.theveryfinecomicbookpodcast.com) and NO SUCH THING AS A BAD MOVIE (@nosuchthingasabadmovie), as well as Will's MICHAEL AND US (@michael-and-us)
Steve & Izzy continue MAY Cause Injury, a month-long celebration of STUNTS on film, as they are joined by Lewis Falkencraft to discuss 1976's "Deathcheaters" starring John Hargreaves, Grant Page & directed by friend of the podcast Brian Trenchard-Smith!!! Do you love Aussie accents? How does one become "generally unbothered"? Is your daily driver a souped-up dune buggy? Where can I find a Cunning Stunts T-shirt? How does a claymore landmine work?!? Let's find out!!! So kick back, grab a few brews, launch the patio cannon, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
Steve & Izzy continue MAY Cause Injury, a month-long celebration of STUNTS on film, as they are joined by Joey of the So Wizard Podcast to discuss 1978's "Stunt Rock" starring Grant Page, SORCERY & directed by friend of the podcast Brian Trenchard-Smith!!! Who exactly IS Grant Page? What makes Sorcery unique? Do you like Aussie accents? Who is Allison Cooper? Do you like Stunts with your Rock?!? Let's find out!!! So kick back, grab a few brews, pull out your scrapbook of accomplishments, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
Film Seizure concludes their Australian cinema adventure in a dystopian near future as they visit Brian Trenchard-Smith's Dead End Drive-In. Episodes release on Wednesday at www.filmseizure.com "Beyond My Years" by Matt LaBarber LaBarber The Album Available at https://mattlabarber.bandcamp.com/album/labarber-the-album Copyright 2020 Like what we do? Buy us a coffee! www.ko-fi.com/filmseizure Follow us on Facebook: www.facebook.com/filmseizure/ Follow us on Mastodon: https://universeodon.com/@filmseizure Follow us on Twitter: twitter.com/FilmSeizure Follow us on Instagram: www.instagram.com/filmseizure/ You can now find us on YouTube as well! The Film Seizure Channel can be found here: https://www.youtube.com/c/FilmSeizure
On todays episode, I reviewed Adam Driver's newest sci-fi movie, 65. I was really hoping this movie would get me back into dinosaurs, but I was so disappointed. I am joined by a new guest today, Greg Rocinski. Long time friend, and even longer movie reviewer. And because St. Patrick's day was this past weekend, Greg picked Leprechaun 3 for his throwback movie. 65. Directed by Scott Beck and Bryan Woods. An astronaut crash lands on a mysterious planet only to discover he's not alone.Leprechaun 3 (1995). Directed by Brian Trenchard-Smith. An evil leprechaun finds himself in Las Vegas, where he proceeds to cause mischief by killing people, granting twisted wishes, and infecting a young man with his green blood.https://msha.ke/thisseatstaken
It's St Patty's week and as is tradition, we here at The Cinema Psychos Show celebrate the holiday not by drinking green beer and eating shepard's pie....but by visiting our old friend THE LEPRECHAUN! And this time around we are taking a look at what might be the best of the sequels in this series, 1995's Leprechaun 3! A movie that clearly knows how ridiculous the concept of the first 2 were and decides to fully embrace the ridiculous by putting our favorite leprechaun in glittering LAS VEGAS (AKA a Los Angeles sound stage and 1 night in actual Las Vegas for exteriors). So grab your pot of gold and green beer as we head to vegas in Leprechaun 3! DISCORD!!! Take the conversation further! Come check out our Discord channel where we you can interact face to face (digitally) with us. Like our opinion or hate it, now you can tell us directly! https://discord.gg/QWPUCGCuVC SUPPORT THE PODCAST! Do you love the show and want to show your appreciation? Consider a one time or monthly tip in our virtual tip jar. Our show will ALWAYS be free, but unfortunately creating the podcast is not free. Your support will go directly to our production costs. https://glow.fm/thecinemapsychosshow/ JDUBS VIDEO NASTIES AND NEWSLETTER Our co-host, John Wooliscroft, has a brand new film channel on youtube. Check it out and Subscribe- https://www.youtube.com/@JDUBSVIDEONASTIES Sign up for the PSYCHOS NATION, our monthly newsletter - http://eepurl.com/dhGswf FEEDBACK AND CONTACT US Gotta a movie or question you want to throw our way? Or did we trash one of your favorite films and you want to know where to send a dead horse. Either way, drop us a line! We welcome your questions and dead horses. NEW !!! Leave us voicemail! - https://cinemapsychosshow.com/contact-us/ Email cinemapsychosshow@gmail.com Twitter - https://twitter.com/PsychosShow Facebook - https://www.facebook.com/psychosshow/ Discord -https://discord.gg/QWPUCGCuVC Tiktok-https://www.tiktok.com/@cinemapsychosshow Instagram - https://www.instagram.com/psychosshow/ Website - https://cinemapsychosshow.com/ Brian Cottington - https://twitter.com/BrianCottington John Wooliscroft - https://twitter.com/TheUnRealJWools Theme Music: TITLE: “Red Alert” AUTHOR: Jack Waldenmaier PUBLISHER: Music Bakery Publishing (BMI) WARNING: UNAUTHORIZED USE OF THE MUSIC CONTAINED IN THIS PRODUCTION IS SUBJECT TO CRIMINAL PROSECUTION. All copyrights, licensing, duplication and distribution rights are held exclusively by Music Bakery Publishing (BMI). 214-636-5887 musicbakery.com
In this epic, militaristic episode of Tubi or Not Tubi, we find ourselves conned into an unexpected production of satanic chaos in the 2001 film, Megiddo: The Omega Code 2, directed by Brian Trenchard-Smith and starring Michael York. Once again, Tubi has offered us a strange situation of a film to dissect. What is an Omega Code? Why is Michael York always caterwauling all the time? Will this movie provide answers or more questions? Guess we gotta go to Megiddo to find out...
After watching BMX Bandits and talking with filmmaker Brian Trenchard-Smith, it only makes sense to look at his other "kids on bikes" movie, The Quest (aka Frog Dreaming, aka Go Kids!). While this is a movie Drew grew up loving, we weren't exactly sure it fit into our current theme, but this was too good an opportunity to discuss it to pass by. Is it a "kids on bikes" movie? How do you deal with a protagonist that needs no real help? And how do you look past some of the movie's more problematic elements? We talk about all of that and more with our deep dive into The Quest. What approach would you use to run a Frog Dreaming inspired session? How would you deal with an overpoweed protagonist like Cody? Let us know what inspiration this film has given you. Interact with the show on Instagram and Twitter or email us at theneversaydiepodcast@gmail.com. Find Drew on Doctor Who: Who & Company Find Rafe on Twitter and on Have Not Seen This This month's independent podcast promo is for the Weird Distractions podcast
It's Inter-MISSION time! Drew and Rafe (finally) follow up their conversation about BMX Bandits with ideas they might have missed the first time around, mostly involving how talking with filmmaker Brian Trenchard-Smith impacted their appreciation of the film. They discuss the highly successful Kids on Bikes Second Edition Kickstarter, which they participated in both as playtesters and as backers. Then, they use the 2nd edition information to trope the new characters they've picked in the draft. Finally, they chat about Kickstarters that have come and gone in the time that the show was on break, discuss the future goals for the podcast (which you can chime in on) and reveal the movie they'll be talking about for our next episode. Interact with the show on Instagram and Twitter or email us at theneversaydiepodcast@gmail.com. Find Drew on Twitter and on Doctor Who: Who & Company Find Rafe on Twitter and on Have Not Seen This
Comedian Chris from Brooklyn and a series of special guests join Zac Amico for a viewing of “Leprechaun 3,” a 1995 film directed by Brian Trenchard-Smith – where an evil leprechaun finds himself in Las Vegas, where he proceeds to cause mischief by killing people, granting twisted wishes, and infecting a young man with his green blood.Air Date: 10/21/22Support our sponsors!Head to RockAuto.com for all your auto-part needs, and let them know you heard about them on Zac Amico's Midnight Spookshow!Fans over the age of 21, go to yokratom.com – home of the $60 kilo! The newest 15 episodes are always free, but if you want access to all the archives, watch live, chat live, access to the forums, and get the show five days before it comes out everywhere else - you can subscribe NOW at http://www.GaSDigitalNetwork.com and use the code ZAC for a 7-Day FREE Trial and save 15% on your subscription to the entire network.Check out https://www.PodcastMerch.com/ZAC to get EXCLUSIVE Zac Amico merchandise!FOLLOW THE SHOW!Zac Amico:https://www.instagram.com/zacisnotfunny/https://www.twitter.com/zacisnotfunny/ Chris Faga:https://www.instagram.com/chrisfrombklyn https://www.twitter.com/chrisfrombklynSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
Angela is back and she is looking to work her black magic on a group of unsuspecting misfits from a catholic boarding school. Join us as we discuss what we liked and disliked about the gory sequel. Starring Cristi Harris, Darin Heames, Bobby Jacoby, Amelia Kinkade, and Christine Taylor. Directed by Brian Trenchard-Smith and released in 1994. Check out our favorite coffee by clicking on our link: Four Sigmatic Please share the podcast with your friends on social media to help us grow. Leave us a great review on whatever platform you are listening. Check us out on Facebook, Instagram, Twitter, and Slasher. If you would like to watch our interviews, you can check out our YouTube channel. If you would like to ask us a question or make a suggestion for the show, send us an email at horrorscriptpodcast@gmail.com You can write us or record a voice memo of yourself asking the question and we can play it on an upcoming episodeSupport the show by picking up some Horror Script Podcast merchandiseIf you do reviews and interviews virtually try Squadcast for free by using our link below. You also help support the show by using it. Special thanks to John Saccardo and Vince Lipscomb for the amazing music. Support the show
https://linktr.ee/_red_river_podcast This week we welcomed movie director and author Brian Trenchard Smith. So much to talk about in such little time. But we did the best we could do for the 70 min we had him. Every now and then we are lucky enough to have a conversation with a director that made movies we grew up loving. It never gets old and we never take it for granted. For all things Brian, including his book Adventure In The B Movie Trade : https://briantrenchard-smith.com/
Welcome to CRITICALLY RECLAIMED, where film critics William Bibbiani and Witney Seibold catch up on older movies one or both of them have never seen before, as chosen by YOU, our listeners! This week on CRITICALLY RECLAIMED, Bibbs and Witney Because crash through Brian Trenchard-Smith's bizarre 1970s stunt spectacular/metal concert/chill vibes cult classic STUNT ROCK! Death-defying feats, rock shows with flame throwers, and a little bit of love await you on the latest episode of CRITICALLY RECLAIMED. Want to vote for future episodes of CRITICALLY RECLAIMED? All you gotta do is subscribe on Patreon! Subscribe on Patreon at www.patreon.com/criticallyacclaimednetwork for exclusive content and exciting rewards, like bonus episodes, commentary tracks and much, much more! And visit our TeePublic page to buy shirts, mugs and other exciting merchandise! Email us at letters@criticallyacclaimed.net, so we can read your correspondence and answer YOUR questions in future episodes! And if you want soap, be sure to check out M. Lopes da Silva's Etsy store: SaltCatSoap! Follow us on Twitter at @CriticAcclaim, join the official Fan Club on Facebook, follow Bibbs at @WilliamBibbiani and follow Witney at @WitneySeibold, and head on over to www.criticallyacclaimed.net for all their podcasts, reviews and more! Support the show: https://www.patreon.com//criticallyacclaimednetworkSee omnystudio.com/listener for privacy information.
Steve & Izzy finish off Ninja-ly, a celebration of Ninja movies, as they are joined by Richard Greene of the I Think Therefore I Fan Podcast to discuss 1975's "The Man from Hong Kong" starring George Lazenby, Grant Page, Jimmy Wang Yu, Hugh Keays-Byrne & directed by friend of the podcast Brian Trenchard-Smith!!! What's the correct way to test heroine? Are 70s boobs the best? What's the worst joke of this movie? Were cars loaded with explosives at one point? Was that Sammo Hung?!? Let's find out!!! So kick back, grab a few brews, buy some books, and enjoy!!! This episode is proudly sponsored by Untidy Venus, your one-stop shop for incredible art & gift ideas at UntidyVenus.Etsy.com and be sure to follow her on Twitter, Facebook, Instagram & Patreon at @UntidyVenus for all of her awesomeness!!! Try it today!!! Twitter - www.twitter.com/eilfmovies Facebook - www.facebook.com/eilfmovies Etsy - www.untidyvenus.etsy.com TeePublic - www.teepublic.com/user/untidyvenus Learn more about your ad choices. Visit megaphone.fm/adchoices
linktr.ee/CatchingUpOnCinema This June is “VHS Cover Art” month at Catching Up On Cinema! Every week we'll be reviewing films with incredible cover art from the VHS era. This week, Kyle and Trevor review Brian Trenchard-Smith's, Night of the Demons 2 (1994)! A direct-to-video follow up to Kevin S. Tenney's, Night of the Demons (1988), the film is a raunchy and entertaining sequel to it's minor cult hit predecessor. Like the original, Night of the Demons 2 is possessed of (heh) a host of clever and well engineered practical makeup effects and effects that largely serve to compensate for it's flimsy plotting and characterization. While most of the fun and horror is confined to it's last act, the film is never truly boring, and very much seems to understand the expectations of its audience. Juvenile and trashy, but undeniably fun, Night of the Demons 2 may not be able to match the production values of the original, however some of its effects and gags are implemented in more interesting ways than the first film, resulting in a rare direct-to-video sequel that matches and occasionally surpasses it's predecessor. Follow us on Instagram @catchinguponcinema Follow us on Twitter @CatchingCinema Like, share, subscribe, and we'll catch you next time!
Space! The Most Tedious Frontier! Your beloved Horses struggle through the Leprechaun franchise's sci-fi outing, which sees the return of Aussie cult film director Brian Trenchard-Smith and the zaniest setting yet. Space marines! Space princesses! Space bisexual lab assistants! Space boobs! What is this franchise's fixation with cross-dressing and gender-swapping? Why does this movie come short in all the places that Leprechaun 3 was such a secret success? Tag along with us and find out!
Nathan is back! And alongside Brendan, they welcome back recurring guest and extreme sports expert Jerika to discuss the Australian Nicole Kidman BMX/crime movie - BMX Bandits. They talk about the characters very carefully doing their "stunts," the similarities between this movie and Mad Max Fury Road, a lot of threatened violence towards minors and more. Plus: Jerika declares herself President of Television and launches a crusade against film! Check our social media on Sunday for the Sunday Screencrap and take a guess at our next movie! What We've Been Watching: Saint Maud "The Outlaws" Everything Everywhere All At Once Questions? Comments? Suggestions? You can always shoot us an e-mail at wwttpodcast@gmail.com What Were They Thinking is sponsored by Manscaped! Get 20% OFF manscaped + Free Shipping with promo code WWTT at MANSCAPED.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 BMX Bandits stars Angelo D'Angelo, James Lugton, Nicole Kidman, David Argue, John Ley and Bryan Marshall; directed by Brian Trenchard-Smith. Learn more about your ad choices. Visit megaphone.fm/adchoices
Delta Force 3: The Killing Game (1991) features the sons and brothers of famous action stars or otherwise acclaimed filmmakers. This is not a good casting choice for an action movie. It's a gimmick, one which does not work at all. Even BMFcast-beloved director Sam Firstenberg (with creative consulting from Brian Trenchard-Smith!) can't make this… Continue Reading BMFcast Extra 197 – Delta Force 3 The post BMFcast Extra 197 – Delta Force 3 first appeared on Bad Movie Fiends Podcast - The BMFcast.
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