Podcasts about caddyshack ii

May 9-16, 1992 This week Ken welcomes co-founder of Mental Floss, co-founder of Kaleidoscope and host of the Part-Time Genius and Skyline Drive podcasts, Mangesh Hattikudur. Ken and Mangesh discuss downtown Brooklyn, going to college in North Carolina, spending your Summers in Idia, spending a year abroad in Atlanta, Brooklyn Manners, not being able to watch R rated movies, the book adaptation life hack, VHS terror, bootleg tapes, the hunt for nudity, The Carolinas, brown outs, shows the US exports, saying goodbye to Johnny Carson, Ken's day with John Cleese, Bob and Ray, the launch of Comedy Central as CTV/Comedy Channel/HA!, hunting down comedy lps, learning joke structure, Stephen Wright, Conan, talk shows, the death of John Candy, Jim Henson's death, Ed McMahon, what local news casters are paid, Vanna White's music career, the greatest picture of Richard Simmons ever, Jake Steinfeld, why Saturdays were tough, turning your house into a mini-golf course, the sries finale of Golden Girls, why Caddyshack II is better than Caddyshack, talk shows hosted by people playing a character, swear replacements, Parker Lewis Can't Lose, ripped from the headlines made for TV murder, how 70s vigilante revenge movies became 90s made for TV movies for women, Risky Business, the nostalgia lens, why you should always go back and revisit your childhood favorites, Police Academy, Revenge of the Nerds, movies that don't fly now, the evolution of R rated movie to children's cartoon, The Boston Celtics, Rescue 9-1-1, the theme song from Rescue 9-1-1, the 3.2.1 Contact Sex Special, Mental Floss, Davis Rules, the TV road not taken, network executives ruining shows, Night Court's final season before the reboot, when Harry Anderson would guest start on Cheers, how Park St Under was absolutely NOT ripped off to make Cheers, how one script became Beverly Hills Cop AND Cobra, Roald Dahl, Alfred Hitchcock Presents, loving Tom Arnold, 20/20, live exorcisms, and getting to the bottom of if the bush really burned. 

Not all movies are good. American Psycho 2 and Caddyshack II are two examples of that. In fact, one of them was never meant to be a sequel. Copyright Disclaimer under section 107 of the Copyright Act 1976, allowance is made for “fair use” for purposes such as criticism, comment, news reporting, teaching, scholarship, education and research.Fair use is a use permitted by copyright statute that might otherwise be infringing.Non-profit, educational or personal use tips the balance in favor of fair use.Important links:Theme song: Strip Search by Neal Gardner. Visit ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠B&S About Movies⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ and email me at bandsaboutmovies@gmail.com. Donate to our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ko-fi page⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠.

GGACP celebrates the birthday of Grammy and Emmy-winning singer-songwriter Kenny Loggins (b. January 7) with this ENCORE of a revealing conversation (from 2019) about the rewards of collaboration, the mystery of the creative process, the challenge of composing songs for the movies “Top Gun” and “Footloose” and his “accidental” partnership with writer-producer Jim Messina. Also, Kenny tries out for “Hair,” mimics Bob Dylan (and Tina Turner!), steers clear of the disco era and teams with Stevie Nicks and Michael McDonald. PLUS: Stealer's Wheel! Anne Murray covers “Danny's Song”! Gilbert auditions for “Caddyshack II”! And Kenny (and Gilbert) guest star on “Family Guy”! Special thanks to Rick Cowling, Michael Jensen and Ryan Romenesko! Learn more about your ad choices. Visit megaphone.fm/adchoices

Is Russell Wilson the kryptonite to the Steelers beating the Eagles? He has plenty of success in that stadium over the course of his career. But is it enough to buck the trend of the Steelers getting beat up in Philly? The guys also got caught in laughter as Bill Belichick is introduced as the UNC head coach. WVU has re-hired Rich Rodriguez as head football coach. Can he turn back the clock? Will his sequel with the Mountaineers be remembered more like Godfather II or Caddyshack II? PG columnist Jason Mackey joined the show. How does Jason feel about the Spencer Horwitz deal? Jason talked us through the conversations the Pirates front office may be having about players being available via trade. What type of player could they get back for Jared Jones or Mitch Keller? Will the payroll be increased from last season? Will it reach $100M? Jason isn't sure that the payroll ever goes up while Paul Skenes is on the roster. Jason doesn't agree with the Pirates approach.

Nobody sets out to make a bad movie. And yet, it happens. A lot. Especially when it comes to sequels. Hollywood can't resist going back to the well when a movie captures a passionate audience – and makes lots of money. But again and again sequels disappoint, and in some cases, can be so bad they kill a franchise. So join the Great Pop Culture Debate as it focuses on the most dreadful of duds, the most creatively bankrupt of flops, as we debate the Worst Movie Sequels. Films discussed: Speed 2: Cruise Control, Highlander 2: The Quickening, Space Jam: A New Legacy, Caddyshack II, Jaws: The Revenge, Halloween Kills, Basic Instinct II, Teen Wolf Too, Book of Shadows: Blair Witch 2, Staying Alive, Superman IV: The Quest for Peace, Grease 2, Indiana Jones and the Kingdom of the Crystal Skull, Batman & Robin, Zoolander II, Spider-Man 3. Join host Eric Rezsnyak and GPCD panelists Jim Czadzeck, Kate Racculia, and Kevin Dillon as they debate 16 of the most reviled movie sequels of all time. Great Pop Culture Debate is brought to you by Factor Meals. Visit factormeals.com/greatpop50 and use the code greatpop50 for 50% off your first box plus 20% off your next month. Play along at home by finding the listener bracket here. Make a copy for yourself, fill it out, and see if your picks match up with ours! For more exclusive content, including warm-up in which we discuss the terrible movies we think SHOULD have made the bracket, become a Patreon supporter of the podcast today. Want to play along at home? Download the Listener Bracket and see if your picks match up with ours! Sign up for our weekly newsletter! Subscribe to find out what's new in pop culture each week right in your inbox! Vote in more pop culture polls! Check out our Open Polls. Your votes determine our future debates! Then, vote in our Future Topic Polls to have a say in what episodes we tackle next. Episode Credits Host: Eric Rezsnyak Panel: Jim Czadzeck, Kate Racculia, Kevin Dillon Producer: Bob Erlenback Editor:  Eric Rezsnyak Theme Music: “Dance to My Tune” by Marc Torch #sequels #badmovies #moviepodcast #filmpodcast #films #boxoffice #sequels #movies #spacejam #blairwitch #batman #superman #basicinstinct #jaws #teenwolf #stayingalive #saturdaynightfever #highlander #spiderman #caddyshack #grease #horrorfilm #musicals #podcast Learn more about your ad choices. Visit megaphone.fm/adchoices

PUBLIC VERSION. Filmmaker Allan Arkush (ROCK 'N' ROLL HIGH SCHOOL, DEATHSPORT, CADDYSHACK II, GET CRAZY, HEROES, ALLY MCBEAL, MOONLIGHTING, DAWSON'S CREEK) joins Adam and Joe in the ArieScope studio to discuss his long and incredible career. From his humble beginnings working for the great Roger Corman and the lifelong friendship he formed with Joe Dante (GREMLINS)… to screening movies with the Jerry Garcia… to having a projectionist literally close the curtains in the middle of his test screening for 1978's DEATHSPORT… to his first major studio directing gig working with the legendary Andy Kaufman on 1981's HEARTBEEPS… to how his early years working at the Fillmore East lead to his 1983 film GET CRAZY… to making the move into directing television and music videos… to the difficult time he had making CADDYSHACK II… to his prolific success directing episodes of FAME, ST. ELSEWHERE, MOONLIGHTING, ALLY MCBEAL, HEROES, NASHVILLE, and more… Allan candidly shares some of his most amazing stories, triumphs, and struggles over the course of this riveting 2 hour conversation.  Also, the group does their best to provide “Hollywood Therapy” for a filmmaker struggling with self doubt, Adam passes on “Donna” several times, and Allan attends a Christmas party to remember at Mick Jagger's house!

January 3-9, 1998 This week Ken welcomes comedian, filmmaker and all around good dude Jeff Cerulli to the show. Ken and Jeff discuss documentary films, hot dog eating contests, TV Eating Contests, The Simpsons, Senior Year of High School, The Spin Doctors, mail order CDs, TV Guide appearing in movies, The Ice Storm, The Postman, Equal, smoking bans, beepers, the top 12 Simpsons episodes (circa 1998), winning the REAL Simpsons house, Ice-T, Marky Mark, having no concept of modern country and Christian music, The Wiz, Comics Come Home, Road Rules, The Real World, Star Wars Special Edition, Jackie Mason, Caddyshack II, how Vaudeville could be alt com, Pacific Blue, Baywatch, the extended Baywatch Universe, The Black Out Effect vs. The Trigger Effect, Demi Moore in Striptease, horny viewing, Mannequin being a three star movie, Beavis and Butthead, VH1 Pop Up Video, The Brothers McMullan, Poison Ivy series, Boy Meets World, voice over, Richard Lewis, bOkU, Drew Carey Show, the horrors of White Grape, Buffy the Vampire Slayer the movie, The Cronenberg Dynasty, Scanners II, MTV as a home channel, when we all hand to witness Anthony Michael Hall break out of being a nerd, Johnny B Goode, Bill Paxton, Weird Science, Seinfeld's final season, the return of Larry David, Bulls, Michael Jordan, Oliver Stone vs. Oliver North, Celebrity Jeopardy, and a particularly angry Cheers and Jeers.

On the latest episode of the podcast, Doug sings the praises of the majority of the cast in this horrible movie, Jamie thinks she's watching a movie starring Connie Francis and Perry Mason, and we both marvel at the decision to allow Dan Akyroyd to do whatever voice work this is. Put on your loudest formal-wear, allow an unhinged laser to give you an atomic wedgie , and join us as we get distracted throughout our discussion of one of the worst films in history (Doug would disagree) Caddyshack II!Visit our YouTube ChannelMerch on TeePublic Follow us on TwitterFollow on InstagramFind us on FacebookVisit our Website

Show Notes This time in A Theater Near You, Paul, Sean, and Kris watch Caddyshack II, a sequel with an absolutely dreadful reputation. But is it as bad as they say?   Useful Links Caddyshack II Support Geekade on Patreon Social Stuff Join us on Discord! Twitch Geekade Facebook Geekade Twitter Geekade Instagram YouTube Geekade Contact Us

Golfing Bonanza, Tom Cruise's body double, and COD not being real. This week Abigail and Michelle watched the Caddyshack sequel so you don't have to. They take a quick dive into the films cast highlights, ethical improvements, and production issues

This 80's flick sequel brings a blend of family chaos, outrageous escapades, and a sprinkle of British humor. Get ready to tag along with the Griswolds as they embark on a madcap European adventure, where every tourist spot becomes a hilarious misadventure just waiting to happen. So, grab your funky beret, power up your super-cool electronic language translator, and don't forget to be a pig as Tim Williams and guest co-hosts, Chris Adams from "Retro Life 4 You" Podcast & Chad Sheppard, discuss “National Lampoon's European Vacation” from 1985 on this episode of the 80s Flick Flashback. Here are some additional behind-the-scenes trivia we were unable to cover in this episode: After the completion of filming, Eric Idle and Chevy Chase developed a friendship. They even collaborated on a screenplay for a sequel titled National Lampoon's Australian Vacation, but unfortunately, the project was abandoned due to the difficulty of coming up with new ideas beyond a few shark-related gags. Along with Caddyshack II (1988) and Nothing But Trouble (1991) this is one of few films Chevy Chase has said he regrets starring in and thus his least favorite Vacation movie. Sources: Wikipedia, IMDB, Rotten Tomatoes https://www.slashfilm.com/870581/why-amy-heckerling-hated-working-on-national-lampoons-european-vacation/ We would love to hear your thoughts about our podcast! You can share your feedback with us through email or social media. Your opinions are important to us and we'd be grateful to know what you enjoyed about our show. If there's anything we may have missed or if you have any suggestions for an 80's movie we should talk about, please don't hesitate to let us know. You could also show your support for our podcast by becoming a subscription member through "Buy Me A Coffee". For more details and other awesome extensions of our podcast, please check out the following link. Thank you so much for supporting us! https://linktr.ee/80sFlickFlashback --- Send in a voice message: https://podcasters.spotify.com/pod/show/moviviews80sff/message

Cooper and Nolan (and a wealthy special guest) are playing from the rough this week when they cover CADDYSHACK II! This sub-par sequel features downgrades across the board, and it's forcing the guys to ask questions like: - Where does this rank compared to other golf movies? - What's the sexiest piece of sports equipment? - Is it possible to identify people purely by their genitalia? ...and perhaps most importantly, why was this made? Throw in a bunch of love for Dyan Cannon and you've got the makings of a memorable round. So grab your clubs and come along; this episode (featuring a beer from the Triple Bogey Brewing Co.) is one you won't need to take a mulligan on.

We continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   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 continue our look back at the movies released by independent distributor Vestron Pictures, focusing on their 1988 releases. ----more---- The movies discussed on this episode, all released by Vestron Pictures in 1988 unless otherwise noted, include: Amsterdamned (Dick Maas) And God Created Woman (Roger Vadim) The Beat (Paul Mones) Burning Secret (Andrew Birkin) Call Me (Sollace Mitchell) The Family (Ettore Scola) Gothic (Ken Russell, 1987) The Lair of the White Worm (Ken Russell) Midnight Crossing (Roger Holzberg) Paramedics (Stuart Margolin) The Pointsman (Jos Stelling) Salome's Last Dance (Ken Russell) Promised Land (Michael Hoffman) The Unholy (Camilo Vila) Waxwork (Anthony Hickox)   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.   At the end of the previous episode, Vestron Pictures was celebrating the best year of its two year history. Dirty Dancing had become one of the most beloved movies of the year, and Anna was becoming a major awards contender, thanks to a powerhouse performance by veteran actress Sally Kirkland. And at the 60th Academy Awards ceremony, honoring the films of 1987, Dirty Dancing would win the Oscar for Best Original Song, while Anna would be nominated for Best Actress, and The Dead for Best Adapted Screenplay and Best Costumes.   Surely, things could only go up from there, right?   Welcome to Part Two of our miniseries.   But before we get started, I'm issuing a rare mea culpa. I need to add another Vestron movie which I completely missed on the previous episode, because it factors in to today's episode. Which, of course, starts before our story begins.   In the 1970s, there were very few filmmakers like the flamboyant Ken Russell. So unique a visual storyteller was Russell, it's nigh impossible to accurately describe him in a verbal or textual manner. Those who have seen The Devils, Tommy or Altered States know just how special Russell was as a filmmaker. By the late 1980s, the hits had dried up, and Russell was in a different kind of artistic stage, wanting to make somewhat faithful adaptations of late 19th and early 20th century UK authors. Vestron was looking to work with some prestigious filmmakers, to help build their cache in the filmmaking community, and Russell saw the opportunity to hopefully find a new home with this new distributor not unlike the one he had with Warner Brothers in the early 70s that brought forth several of his strongest movies.   In June 1986, Russell began production on a gothic horror film entitled, appropriately enough, Gothic, which depicted a fictionalized version of a real life meeting between Mary Godwin, Percy Shelley, John William Polidori and Claire Clairemont at the Villa Diodati in Geneva, hosted by Lord Byron, from which historians believe both Mary Shelley's Frankenstein and John William Polidori's The Vampyre were inspired.   And you want to talk about a movie with a great cast. Gabriel Byrne plays Lord Byron, Julian Sands as Percy Shelley, Natasha Richardson, in her first ever movie, as Mary Shelley, Timothy Spall as John William Polidori, and Dexter Fletcher.   Although the film was produced through MGM, and distributed by the company in Europe, they would not release the film in America, fearing American audiences wouldn't get it. So Vestron would swoop in and acquire the American theatrical rights.   Incidentally, the film did not do very well in American theatres. Opening at the Cinema 1 in midtown Manhattan on April 10th, 1987, the film would sell $45,000 worth of tickets in its first three days, one of the best grosses of any single screen in the city. But the film would end up grossing only $916k after three months in theatres.   BUT…   The movie would do quite well for Vestron on home video, enough so that Vestron would sign on to produce Russell's next three movies. The first of those will be coming up very soon.   Vestron's 1988 release schedule began on January 22nd with the release of two films.   The first was Michael Hoffman's Promised Land. In 1982, Hoffman's first film, Privileged, was the first film to made through the Oxford Film Foundation, and was notable for being the first screen appearances for Hugh Grant and Imogen Stubbs, the first film scored by future Oscar winning composer Rachel Portman, and was shepherded into production by none other than John Schlesinger, the Oscar winning director of 1969 Best Picture winner Midnight Cowboy. Hoffman's second film, the Scottish comedy Restless Natives, was part of the 1980s Scottish New Wave film movement that also included Bill Forsyth's Gregory's Girl and Local Hero, and was the only film to be scored by the Scottish rock band Big Country.   Promised Land was one of the first films to be developed by the Sundance Institute, in 1984, and when it was finally produced in 1986, would include Robert Redford as one of its executive producers. The film would follow two recent local high school graduates, Hancock and Danny, whose lives would intersect again with disastrous results several years after graduation. The cast features two young actors destined to become stars, in Keifer Sutherland and Meg Ryan, as well as Jason Gedrick, Tracy Pollan, and Jay Underwood. Shot in Reno and around the Sundance Institute outside Park City, Utah during the early winter months of 1987, Promised Land would make its world premiere at the prestigious Deauville Film Festival in September 1987, but would lose its original distributor, New World Pictures around the same time. Vestron would swoop in to grab the distribution rights, and set it for a January 22nd, 1988 release, just after its American debut at the then U.S. Film Festival, which is now known as the Sundance Film Festival.    Convenient, eh?   Opening on six screens in , the film would gross $31k in its first three days. The film would continue to slowly roll out into more major markets, but with a lack of stellar reviews, and a cast that wouldn't be more famous for at least another year and a half, Vestron would never push the film out to more than 67 theaters, and it would quickly disappear with only $316k worth of tickets sold.   The other movie Vestron opened on January 22nd was Ettore Scale's The Family, which was Italy's submission to that year's Academy Awards for Best Foreign Language Film. The great Vittorio Gassman stars as a retired college professor who reminisces about his life and his family over the course of the twentieth century. Featuring a cast of great international actors including Fanny Ardant, Philip Noiret, Stefania Sandrelli and Ricky Tognazzi, The Family would win every major film award in Italy, and it would indeed be nominated for Best Foreign Language Film, but in America, it would only play in a handful of theatres for about two months, unable to gross even $350k.   When is a remake not a remake? When French filmmaker Roger Vadim, who shot to international fame in 1956 with his movie And God Created Woman, decided to give a generational and international spin on his most famous work. And a completely different story, as to not resemble his original work in any form outside of the general brushstrokes of both being about a young, pretty, sexually liberated young woman.   Instead of Bridget Bardot, we get Rebecca De Mornay, who was never able to parlay her starring role in Risky Business to any kind of stardom the way one-time boyfriend Tom Cruise had. And if there was any American woman in the United States in 1988 who could bring in a certain demographic to see her traipse around New Mexico au natural, it would be Rebecca De Mornay. But as we saw with Kathleen Turner in Ken Russell's Crimes of Passion in 1984 and Ellen Barkin in Mary Lambert's Siesta in 1987, American audiences were still rather prudish when it came to seeing a certain kind of female empowered sexuality on screen, and when the film opened at 385 theatres on March 4th, it would open to barely a $1,000 per screen average. And God Created Woman would be gone from theatres after only three weeks and $717k in ticket sales.   Vestron would next release a Dutch film called The Pointsman, about a French woman who accidentally gets off at the wrong train station in a remote Dutch village, and a local railwayman who, unable to speak the other person's language, develop a strange relationship while she waits for another train that never arrives.   Opening at the Lincoln Plaza Cinemas on New York's Upper West Side on April 8th, the film would gross $7,000 in its first week, which in and of itself isn't all that bad for a mostly silent Dutch film. Except there was another Dutch film in the marketplace already, one that was getting much better reviews, and was the official Dutch entry into that year's Best Foreign Language Film race. That film, Babette's Feast, was becoming something more than just a movie. Restaurants across the country were creating menus based on the meals served in the film, and in its sixth week of release in New York City that weekend, had grossed four times as much as The Pointsman, despite the fact that the theatre playing Babette's Feast, the Cinema Studio 1, sat only 65 more people than the Lincoln Plaza 1. The following week, The Pointsman would drop to $6k in ticket sales, while Babette's Feast's audience grew another $6k over the previous week. After a third lackluster week, The Pointsman was gone from the Lincoln Plaza, and would never play in another theatre in America.   In the mid-80s, British actor Ben Cross was still trying to capitalize on his having been one of the leads in the 1981 Best Picture winner Chariots of Fire, and was sharing a home with his wife and children, as well as Camilo Vila, a filmmaker looking for his first big break in features after two well-received short films made in his native Cuba before he defected in the early 1980s. When Vila was offered the chance to direct The Unholy, about a Roman Catholic priest in New Orleans who finds himself battling a demonic force after being appointed to a new parish, he would walk down the hall of his shared home and offered his roomie the lead role.   Along with Ned Beatty, William Russ, Hal Holbrook and British actor Trevor Howard in his final film, The Unholy would begin two weeks of exterior filming in New Orleans on October 27th, 1986, before moving to a studio in Miami for seven more weeks. The film would open in 1189 theatres, Vestron's widest opening to date, on April 22nd, and would open in seventh place with $2.35m in ticket sales. By its second week in theatres, it would fall to eleventh place with a $1.24m gross. But with the Summer Movie Season quickly creeping up on the calendar, The Unholy would suffer the same fate as most horror films, making the drop to dollar houses after two weeks, as to make room for such dreck as Sunset, Blake Edwards' lamentable Bruce Willis/James Garner riff on Hollywood and cowboys in the late 1920s, and the pointless sequel to Critters before screens got gobbled up by Rambo III on Memorial Day weekend. It would earn a bit more than $6m at the box office.   When Gothic didn't perform well in American theatres, Ken Russell thought his career was over. As we mentioned earlier, the American home video store saved his career, as least for the time being.    The first film Russell would make for Vestron proper was Salome's Last Dance, based on an 1891 play by Oscar Wilde, which itself was based on a story from the New Testament. Russell's script would add a framing device as a way for movie audiences to get into this most theatrical of stories.   On Guy Fawkes Day in London in 1892, Oscar Wilde and his lover, Lord Alfred Douglas, arrive late at a friend's brothel, where the author is treated to a surprise performance of his play Salome, which has recently been banned from being performed at all in England by Lord Chamberlain. All of the actors in his special performance are played by the prostitutes of the brothel and their clients, and the scenes of the play are intertwined with Wilde's escapades at the brothel that night.   We didn't know it at the time, but Salome's Last Dance would be the penultimate film performance for Academy Award winning actress Glenda Jackson, who would retire to go into politics in England a couple years later, after working with Russell on another film, which we'll get to in a moment. About the only other actor you might recognize in the film is David Doyle, of all people, the American actor best known for playing Bosley on Charlie's Angels.   Like Gothic, Salome's Last Dance would not do very well in theatres, grossing less than half a million dollars after three months, but would find an appreciative audience on home video.   The most interesting thing about Roger Holzberg's Midnight Crossing is the writer and director himself. Holzberg started in the entertainment industry as a playwright, then designed the props and weapons for Albert Pyun's 1982 film The Sword and the Sorcerer, before moving on to direct the second unit team on Pyun's 1985 film Radioactive Dreams. After making this film, Holzberg would have a cancer scare, and pivot to health care, creating a number of technological advancements to help evolve patient treatment, including the Infusionarium, a media setup which helps children with cancer cope with treatment by asking them questions designed to determine what setting would be most comforting to them, and then using virtual reality technology and live events to immerse them in such an environment during treatment.   That's pretty darn cool, actually.   Midnight Crossing stars Faye Dunaway and Hill Street Blues star Daniel J. Travanti in his first major movie role as a couple who team with another couple, played by Kim Cattrall and John Laughlin, who go hunting for treasure supposedly buried between Florida and Cuba.   The film would open in 419 theaters on May 11th, 1988, and gross a paltry $673k in its first three days, putting it 15th on the list of box office grosses for the week, $23k more than Three Men and a Baby, which was playing on 538 screens in its 25th week of release. In its second week, Midnight Crossing would lose more than a third of its theatres, and the weekend gross would fall to just $232k. The third week would be even worse, dropping to just 67 theatres and $43k in ticket sales. After a few weeks at a handful of dollar houses, the film would be history with just $1.3m in the bank. Leonard Klady, then writing for the Los Angeles Times, would note in a January 1989 article about the 1988 box office that Midnight Crossing's box office to budget ratio of 0.26 was the tenth worst ratio for any major or mini-major studio, ahead of And God Created Woman's 8th worst ratio of .155 but behind other stinkers like Caddyshack II.   The forgotten erotic thriller Call Me sounds like a twist on the 1984 Alan Rudolph romantic comedy Choose Me, but instead of Genevieve Bujold we get Patricia Charbonneau, and instead of a meet cute involving singles at a bar in Los Angeles, we get a murder mystery involving a New York City journalist who gets involved with a mysterious caller after she witnesses a murder at a bar due to a case of mistaken identity.   The film's not very good, but the supporting cast is great, including Steve Buscemi, Patti D'Arbanville, Stephen McHattie and David Straithairn.   Opening on 24 screens in major markets on May 20th, Call Me would open to horrible reviews, lead by Siskel and Ebert's thumbs facing downward, and only $58,348 worth of tickets sold in its first three days. After five weeks in theatres, Vestron hung up on Call Me with just $252k in the kitty.   Vestron would open two movies on June 3rd, one in a very limited release, and one in a moderate national release.   There are a lot of obscure titles in these two episodes, and probably the most obscure is Paul Mones' The Beat. The film followed a young man named Billy Kane, played by William McNamara in his film debut, who moves into a rough neighborhood controlled by several gangs, who tries to help make his new area a better place by teaching them about poetry. John Savage from The Deer Hunter plays a teacher, and future writer and director Reggie Rock Bythewood plays one of the troubled youths whose life is turned around through the written and spoken word.   The production team was top notch. Producer Julia Phillips was one of the few women to ever win a Best Picture Oscar when she and her then husband Michael Phillips produced The Sting in 1973. Phillips was assisted on the film by two young men who were making their first movie. Jon Kilik would go on to produce or co-produce every Spike Lee movie from Do the Right Thing to Da 5 Bloods, except for BlackkKlansman, while Nick Weschler would produce sex, lies and videotape, Drugstore Cowboy, The Player and Requiem for a Dream, amongst dozens of major films. And the film's cinematographer, Tom DiCillo, would move into the director's chair in 1991 with Johnny Suede, which gave Brad Pitt his first lead role.   The Beat would be shot on location in New York City in the summer of 1986, and it would make its world premiere at the Cannes Film Market in May 1987. But it would be another thirteen months before the film arrived in theatres.   Opening on seven screens in Los Angeles and New York City on June 3rd, The Beat would gross just $7,168 in its first three days.  There would not be a second week for The Beat. It would make its way onto home video in early 1989, and that's the last time the film was seen for nearly thirty years, until the film was picked up by a number of streaming services.   Vestron's streak of bad luck continued with the comedy Paramedics starring George Newbern and Christopher McDonald. The only feature film directed by Stuart Margolin, best known as Angel on the 1970s TV series The Rockford Files, Newbern and McDonald play two… well, paramedics… who are sent by boss, as punishment, from their cushy uptown gig to a troubled district at the edge of the city, where they discover two other paramedics are running a cadavers for dollars scheme, harvesting organs from dead bodies to the black market.   Here again we have a great supporting cast who deserve to be in a better movie, including character actor John P. Ryan, James Noble from Benson, Lawrence Hilton-Jacobs from Welcome Back Kotter, the great Ray Walston, and one-time Playboy Playmate Karen Witter, who plays a sort of angel of death.   Opening on 301 screens nationwide, Paramedics would only gross $149,577 in its first three days, the worst per screen average of any movie playing in at least 100 theatres that weekend. Vestron stopped tracking the film after just three days.   Two weeks later, on June 17th, Vestron released a comedy horror film that should have done better. Waxwork was an interesting idea, a group of college students who have some strange encounters with the wax figures at a local museum, but that's not exactly why it should have been more popular. It was the cast that should have brought audiences in. On one side, you had a group of well-known younger actors like Deborah Foreman from Valley Girl, Zack Gailligan from Gremlins, Michelle Johnson from Blame It on Rio, and Miles O'Keeffe from Sword of the Valiant. On the other hand, you had a group of seasoned veterans from popular television shows and movies, such as Patrick Macnee from the popular 1960s British TV show The Avengers, John Rhys-Davies from the Indiana Jones movies, and David Warner, from The Omen and Time after Time and Time Bandits and Tron.   But if I want to be completely honest, this was not a movie to release in the early part of summer. While I'm a firm believer that the right movie can find an audience no matter when it's released, Waxwork was absolutely a prime candidate for an early October release. Throughout the 1980s, we saw a number of horror movies, and especially horror comedies, released in the summer season that just did not hit with audiences. So it would be of little surprise when Waxwork grossed less than a million dollars during its theatrical run. And it should be of little surprise that the film would become popular enough on home video to warrant a sequel, which would add more popular sci-fi and horror actors like Marina Sirtis from Star Trek: The Next Generation, David Carradine and even Bruce Campbell. But by 1992, when Waxwork 2 was released, Vestron was long since closed.   The second Ken Russell movie made for Vestron was The Lair of the White Worm, based on a 1911 novel by Bram Stoker, the author's final published book before his death the following year. The story follows the residents in and around a rural English manor that are tormented by an ancient priestess after the skull of a serpent she worships is unearthed by an archaeologist.   Russell would offer the role of Sylvia Marsh, the enigmatic Lady who is actually an immortal priestess to an ancient snake god, to Tilda Swinton, who at this point of her career had already racked up a substantial resume in film after only two years, but she would decline. Instead, the role would go to Amanda Donohoe, the British actress best known at the time for her appearances in a pair of Adam Ant videos earlier in the decade. And the supporting cast would include Peter Capaldi, Hugh Grant, Catherine Oxenberg, and the under-appreciated Sammi Davis, who was simply amazing in Mona Lisa, A Prayer for the Dying and John Boorman's Hope and Glory.   The $2m would come together fairly quickly. Vestron and Russell would agree on the film in late 1987, the script would be approved by January 1988, filming would begin in England in February, and the completed film would have its world premiere at the Montreal Film Festival before the end of August.   When the film arrived in American theatres starting on October 21st, many critics would embrace the director's deliberate camp qualities and anachronisms. But audiences, who maybe weren't used to Russell's style of filmmaking, did not embrace the film quite so much. New Yorkers would buy $31k worth of tickets in its opening weekend at the D. W. Griffith and 8th Street Playhouse, and the film would perform well in its opening weeks in major markets, but the film would never quite break out, earning just $1.2m after ten weeks in theatres. But, again, home video would save the day, as the film would become one of the bigger rental titles in 1989.   If you were a teenager in the early 80s, as I was, you may remember a Dutch horror film called The Lift. Or, at the very least, you remember the key art on the VHS box, of a man who has his head stuck in between the doors of an elevator, while the potential viewer is warned to take the stairs, take the stairs, for God's sake, take the stairs. It was an impressive debut film for Dick Maas, but it was one that would place an albatross around the neck of his career.   One of his follow ups to The Lift, called Amsterdamned, would follow a police detective who is searching for a serial killer in his home town, who uses the canals of the Dutch capital to keep himself hidden. When the detective gets too close to solving the identity of the murderer, the killer sends a message by killing the detective's girlfriend, which, if the killer had ever seen a movie before, he should have known you never do. You never make it personal for the cop, because he's gonna take you down even worse.   When the film's producers brought the film to the American Film Market in early 1988, it would become one of the most talked about films, and Vestron would pick up the American distribution rights for a cool half a million dollars. The film would open on six screens in the US on November 25th, including the Laemmle Music Hall in Beverly Hills but not in New York City, but a $15k first weekend gross would seal its fate almost immediately. The film would play for another four weeks in theatres, playing on 18 screens at its widest, but it would end its run shortly after the start of of the year with only $62,044 in tickets sold.   The final Vestron Pictures release of 1988 was Andrew Birkin's Burning Secret. Birkin, the brother of French singer and actress Jane Birkin, would co-write the screenplay for this adaptation of a 1913 short story by Austrian novelist Stefan Zweig, about a about an American diplomat's son who befriends a mysterious baron while staying at an Austrian spa during the 1920s. According to Birkin in a 2021 interview, making the movie was somewhat of a nightmare, as his leading actors, Klaus Maria Brandauer and Faye Dunaway, did not like each other, and their lack of comfort with each other would bleed into their performances, which is fatal for a film about two people who are supposed to passionately burn for each other.   Opening on 16 screens in major markets on Thursday, December 22nd, Burning Secret would only gross $27k in its first four days. The film would actually see a post-Christmas bump, as it would lose a screen but see its gross jump to $40k. But after the first of the year, as it was obvious reviews were not going to save the film and awards consideration was non-existent, the film would close after three weeks with only $104k worth of tickets sold.   By the end of 1988, Vestron was facing bankruptcy. The major distributors had learned the lessons independents like Vestron had taught them about selling more volumes of tapes by lowering the price, to make movies collectables and have people curate their own video library. Top titles were harder to come by, and studios were no longer giving up home video rights to the movies they acquired from third-party producers.   Like many of the distributors we've spoken about before, and will undoubtedly speak of again, Vestron had too much success with one movie too quickly, and learned the wrong lessons about growth. If you look at the independent distribution world of 2023, you'll see companies like A24 that have learned that lesson. Stay lean and mean, don't go too wide too quickly, try not to spend too much money on a movie, no matter who the filmmaker is and how good of a relationship you have with them. A24 worked with Robert Eggers on The Witch and The Lighthouse, but when he wanted to spend $70-90m to make The Northman, A24 tapped out early, and Focus Features ended up losing millions on the film. Focus, the “indie” label for Universal Studios, can weather a huge loss like The Northman because they are a part of a multinational, multimedia conglomerate.   This didn't mean Vestron was going to quit quite yet, but, spoiler alert, they'll be gone soon enough.   In fact, and in case you are newer to the podcast and haven't listen to many of the previous episodes, none of the independent distribution companies that began and/or saw their best years in the 1980s that we've covered so far or will be covering in the future, exist in the same form they existed in back then.    New Line still exists, but it's now a label within Warner Brothers instead of being an independent distributor. Ditto Orion, which is now just a specialty label within MGM/UA. The Samuel Goldwyn Company is still around and still distributes movies, but it was bought by Orion Pictures the year before Orion was bought by MGM/UA, so it too is now just a specialty label, within another specialty label. Miramax today is just a holding company for the movies the company made before they were sold off to Disney, before Disney sold them off to a hedge fund, who sold Miramax off to another hedge fund.    Atlantic is gone. New World is gone. Cannon is gone. Hemdale is gone. Cinecom is gone. Island Films is gone. Alive Films is gone. Concorde Films is gone. MCEG is gone. CineTel is gone. Crown International is gone. Lorimar is gone. New Century/Vista is gone. Skouras Films is gone. Cineplex Odeon Films is gone.   Not one of them survived.   The same can pretty much be said for the independent distributors created in the 1990s, save Lionsgate, but I'll leave that for another podcast to tackle.   As for the Vestron story, we'll continue that one next week, because there are still a dozen more movies to talk about, as well as the end of the line for the once high flying company.   Thank you for joining us. We'll talk again soon.   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.

Are you surprised that I found someone to defend this stinker? Well get this: I had several people to choose from! But it was veteran film critic / podcaster / soap-maker William Bibbiani (@WilliamBibbiani) who got the nod, and let's just say he came prepared. Big thanks to listeners, patrons, and anyone who plugs this podcast on twitter.  Thanks for listening to Overhated! There are 100+ more episodes at patreon.com/scottEweinberg. Subscribe to hear them all now! Check out the list of episodes here: bit.ly/3WZiLFk. Subscribe wherever you get your podcasts: Apple Podcasts, Spotify, etc.

Sean and Brad review 2004's Wimbledon.  Sean and Brad saw this movie together in the theater, possibly on opening night.  Why?  Listen to the episode to find out.  We also talk the Tennessee Vols March Madness results, which were 6 months ago (we record much earlier than we release, but we're catching up), Jack White experiences, and Caddyshack 2's farting horse again.  Because that's more funny than anything in this movie.Next episode: 1973's The World's Greatest AthleteThe World's Greatest Athlete is not streaming anywhere for free.  I doubt it's at your local library but you can check!Support the show

Seinfeld Podcast Interview With Jessica Lundy (Naomi). We welcome Jessica Lundy. Jessica played Naomi in two Season 4 Seinfeld episodes, "The Watch" and "The Bubble Boy." She won a Daytime Emmy Award for her role as Amanda Wainwright in "The Inspectors." You know her from all of your favorite TV shows and movies including, "Bright Lights, Big City," "Northern Exposure," "Hope and Gloria," "Caddyshack II," and "Monk." We talk in-depth with Seinfeld guest stars, cast, crew, and writers. Hear the stories about your favorite Seinfeld scenes from those who were there. This Podcast Is Making Me Thirsty is a podcast dedicated to Seinfeld, the last, great sitcom of our time. We are The #1 Destination for Seinfeld Fans. We talk to those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew. We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities. We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you. Official Website: http://www.seinfeldpodcast.com iTunes: https://apple.co/2RGC89m Spotify: https://spoti.fi/3tqDVh6 List of Podcast Episodes and Sponsors: https://bit.ly/3rn0PUp Seinfeld Episode Rankings: https://bit.ly/3ic8mEi Social: https://linktr.ee/ThisThirsty Twitter: https://twitter.com/ThisThirsty Instagram: https://www.instagram.com/thisthirsty/ "This Podcast Is Making Me Thirsty" is The Place to Be for "Seinfeld" fans. We are the #1 destination for all things "Seinfeld," the last, great sitcom of our time. --- Send in a voice message: https://anchor.fm/thisthirsty/message

nananana...be the podcast...BE the podcast...we will review Caddyshack II...nananana

Welcome to the Spring 2022 Finale of Dropped Cultures World famous "Droppin' Deuces" This week it is all about another contender for the worst sequel ever made........Caddyshack II!!!??!?!?!? Is it the worst? I think the last 3 Deuces' we did were right on par with this one! Brock and Dan get up in this one! Jackie Mason stars and the wannabe Rodney Dangerfield while Chevy Chase and Dan Aykroyd chase the greenbacks! It is truly a horrible movie......Just like we like!If you like what you hear leave a like, comment, our subscribe to us on your favorite platform! Visit droppedculture.com and Menards for all your dropped culture needs!Make mine Dropped Culture!

On this week's trip through the Mind of the Meanie, The Blue Meanie and Adam Barnard talk the massive Sixers trade that brought James Harden to Philly, "Tinder Swindler", Jason Kelce, and "Caddyshack II". All this, plus an #AskMeanie that makes Adam's jaw drop, today on Mind of the Meanie! Get 20% OFF @manscaped + Free Shipping with promo code MEANIE20 at MANSCAPED.com! #ad #manscapedpod For more information and exclusive updates, follow Mind of the Meanie on Social Media. www.mindofthemeanie.com www.facebook.com/mindofthemeanie www.twitter.com/mindofthemeanie www.instagram.com/mindofthemeanie BECOME AN OFFICIAL POD SQUAD MEMBER: www.Patreon.com/mindofthemeanie  YouTube Meanie Toons About The Blue Meanie: Since 1994, Brian Heffron, known to wrestling fans as "The Blue Meanie", has been one of the most fun loving and mischievous characters in wrestling. He's been in ECW, WWE, various independent wrestling promotions and several independent films. He is perhaps best known for his comedy and wrestling parodies with the bWo, KISS, Col. DeMeanie, Sir Meanie, The Fabulous Ones and BlueDust. Now, he meaniesaults into the world of streaming audio, sharing his experiences in and out of the ring as well as his views on the world of professional wrestling and anything else he is passionate about. About Adam Barnard: Adam Barnard is a photographer, podcaster, and an award winning writer from Downingtown, PA. Since 2019, he has hosted Foundation Radio, a weekly podcast series with new episodes every Tuesday, focusing on in depth conversations and wrestling analysis. Now, Adam brings his unique perspective and incredibly dry sense of humor to Mind of the Meanie each week. Hosted by The Blue Meanie and Adam Barnard Executive Producers: Josh Shernoff, Adam Barnard, and The Blue Meanie Engineer: Carl Pannell Executive Voice: Sam Krepps Intro music: Swamp Candles Outro music: Chikara Original music: Enrichment A Butts Carlton Media/MOTM production, in conjunction with MLW Radio Network.

Grab your golf bag and spiky shoes! We're hitting the green this week with Dan Aykroyd, Jackie Mason and our ol' pal Chevy to talk about Caddyshack II. We play a full 18 holes on this episode. Just a few of the things we discuss: the zen philosophy of Rodney Dangerfield, what makes the first Caddyshack so great, Oliver North's involvement in the Iran-Contra Affair, Jackie Mason's previous life as a  rabbi, and how to make plasma in a microwave.  Follow us on Instagram!And email us at bestlegsinchicago@gmail.com

In this encore presentation of an episode from 2019, Gilbert and Frank welcome Grammy and Emmy-winning singer-songwriter Kenny Loggins for a revealing conversation about the rewards of collaboration, the mystery of the creative process, the challenge of composing songs for the movies "Top Gun" and "Footloose" and his "accidental" partnership with writer-producer Jim Messina. Also, Kenny tries out for "Hair," mimics Bob Dylan (and Tina Turner!), steers clear of the disco era and teams with Richard Marx, Stevie Nicks and Michael McDonald. PLUS: Stealer's Wheel! The genius of Clive Davis! Anne Murray covers "Danny's Song"! Gilbert auditions for "Caddyshack II"! And Kenny (and Gilbert) guest star on "Family Guy"! Special thanks to Rick Cowling, Michael Jensen and Ryan Romenesko! Learn more about your ad choices. Visit megaphone.fm/adchoices

A review over a year in the making, Mike joins me on air so we can finally review the sequel that I'm sure would like a mulligan: Caddyshack II. See omnystudio.com/listener for privacy information.

1:34:25 – In this episode: Caddyshack II (1989) starring Jackie Mason, celebrity deaths (Richard Donner, Ed Asner, Charlie Watts, Fez Whatley), how AI is used to create video game dialogue, Rob didn't tell Greg he was also at the Rolling Stones concert, was Chad Channing truly Nirvana's drummer?, recent TV series that portray the 1990s (People vs. […]

In this Episode: Caddyshack II (1989) starring Jackie Mason, celebrity deaths (Richard Donner, Ed Asner, Charlie Watts, Fez Whatley), how AI is used to create video game dialogue, Rob didn't tell Greg he was also at the Rolling Stones concert, was Chad Channing truly Nirvana's drummer?, recent TV series that portray the 1990s (People vs. O.J. Simpson, Cruel Summer), To Funny To Fail: Life and Death of The Dana Carvey Show, Batman and Bill, documentary about the true creator of Batman, Bill Finger, and whether pop culture has now passed us by? 95 minutes - http://www.paunchstevenson.com

Chevy Chase and..... no one else is back for Caddyshack II what some have called the worst sequel in movie history

Pat welcomes Grammy Award winning singer-songwriter Kenny Loggins to the Zoom Room to discuss his career in music and his brand new Record Store Day only vinyl release... "Kenny Loggins At The Movies.

This week, Joel and Andy watch Caddyshack II, the perplexing follow up to the classic 1980s sport comedy that lacks all of the humor and charm of the original.

This week Ken welcome author of the new book on Nickelodeon in the '90s (and the old book The Comic Galaxy of Mystery Science Theater 3000: Twelve Classic Episodes and the Movies They Lampoon) Chris Morgan. Ken and Chris discuss growing up in Detroit, being very unsuccessful, failing in L.A., Kid Rock, Comedy Channel, early cable networks, Canadian content, Fifteen, Welcome Freshman, Cousin Skeeter, My Brother and Me, Alex Mack, Shelby Woo, how bad My Brother and Me was, Third Rock from the Sun, 10 Things I Hate About You, Alanis Morrisette, Moesha books, Rugrats, Halloween, All That!, teenage HIV suicide pact Summer camps on Touched by an Angel, Thora Birch, Munsters, Chevy Chase, Pop up Video, VH1, WCW, WWF, Hulk Hogan in Assault on Devil's Island, Beavis and Butthead, Drew Carey, The Flintstones, Ken's love of Caddyshack II, Seinfeld, Rock n Jock, Bob Ballaban Baseball, Bike Blades and Boards, Saved by the Bell, Tori, the last year of Trick or Treating, Family Matters, Stevil, Rocky Horror Picture Show, the history of Frankenstein, screams from your closet, Karate Fighters toys and how Slappy from Goosebumps is a great interview.

It's Golf Season and we are going Back to the Shack.. Welcome to the "Deep End" Pool Sceners!  Our Season 4 Finale covers both the 1980 comedy classic starring Bill Murray and Rodney Dangerfield, "Caddyshack" and then the 1988 "anticipated sequel," starring Jackie Mason and Dan Akyroyd "Caddyshack II." 2 Pool Checks this week: Top 5 Favorite Soundtrack Songs & Best Movie Athletes. Lots of news to unpack this week and some great stories including the Canadian National Anthem.  Grab 8 HOT DOGS and your favorite beverage, the "Concession Stand" is OPEN and we have some business to take care of. Thank you Pool Sceners for another amazing season. Stay tuned for the "After Hours" episode coming out right after this launches. We are getting the Pool ready for Season 5!   CONTINUE TO SPREAD THE WORD POOL SCENERS!! Become one of our LIFEGUARDS TODAY!! SUBSCRIBE. FOLLOW. RATE. APPLE PODCASTS. SPOTIFY. PODBEAN. CONTACT US: Facebook/Instagram: @PoolScenePodcast Tik Tok: @PoolScenePod1 Email: PoolScenePodcast@gmail.com Twitter: @PoolScenePod

This week I interviewed my 1st Casting Director and I couldn't have been luckier to have chatted with Glenn Daniels. We reached out to Glenn for 2 of our earliest films, Caddyshack II and Police Academy 6, and I couldn't convince him to say "Yes", but after more emails not giving up, I finally convinced him. I absolutely LOVED talking to Glenn and how he got started in Hollywood is a wild story. Plus hearing how he got actors like Stanley Tucci, Lisa Kudrow, Teri Hatcher, and Woody Harrelson. I was also fascinated about how many movies that he has helped cast for that aren't on his IMDb. We have been lucky enough to interview a lot of awesome people and Glenn is one of my favorites. Thank you, Glenn. Glenn's IMDb https://www.imdb.com/name/nm0199945/ Don't forget to watch "Child's Play 3" for our next review! It's on HBO Max. Follow us on all social media @sequelsonly and our website is sequelsonly.com

It's part 2 of our Podcast Retrospective.  This week on Saturday Night Jive we're talking about the worst movies we've seen.  We've seen a lot of crap and it's time to rank it from crappiest to still very crappy.  Plus we include clips from the episode where we talked about each movie.  Full archive available at saturdaynightjive.blogspot.com.  You can email us anything at saturdaynightjivepodcast@gmail.com.  Scroll down in the description for the complete list if you don't mind getting spoiled.  It's a big old Saturday Night Jive Wank-A-Thon!  Enjoy!Download Here   1. Bucky Larson: Born To Be A Star2. Epic Movie3. Freddy Got Fingered4. Plump Fiction5. Who's Your Caddy?6. Foodfight!7. Envy8. How High9. (TIE) Larry The Cable Guy: Health Inspector AND Twixt11. Pootie Tang12. (TIE) Gigli AND The Love Guru14. (TIE) Heartbeeps AND Year One16. Dear God17. Bulworth18. Caddyshack II19. (TIE) Haunted Honeymoon AND Man Of The Year21. Little Man22. Blues Brothers 200023. (TIE) Nine Lives AND Shortcut To Happiness25. Bewitched26. Leonard Part 627. (TIE) Doctor Detroit AND Master Of Disguise

In "The Bar" we explored the possibility of Billy Donovan returning to Florida,  the Jaguars Junkyard, Why the B1G Conference is about to become the cast of Caddyshack II and The ACC's Aim High Audacity.  

Because we're idiots, last summer we forced ourselves to watch all the Meatballs sequels. (There were three, which felt like three hundred.) So this week, continuing the theme of disappointing follow-ups to classic Bill Murray movies, we finally watched all the Caddyshack sequels. (There was just one, which somehow also felt like three hundred.) Caddyshack II got a few things right: A script by Harold Ramis (which was unfortunately rewritten into oblivion), another killer theme song from Kenny Loggins ("Nobody's Fool" is arguably superior to "I'm Alright"), the return of Chevy Chase (still advising everyone to be the ball), and the return of our beloved gopher (now sounding suspiciously like Frank Welker). But then there were some problems, with Dan Aykroyd, Jackie Mason, and Robert Stack as vastly inferior substitutes for Bill, Rodney, and Ted. On the other hand, there was a weird connection to Steve Martin's The Jerk, a weird connection to Robolar from Mars, and a Bushwood Country Club snob played by a future member of Wilson Phillips. So that's something. (Oh, we also sneaked in a Kim Richards double feature this week, with the classic Escape to Witch Mountain and the non-classic Tuff Turf.) In summary: We like watching stupid things, so here we are. Back at the shack. The Flopcast website! The ESO Network! The Flopcast on Facebook! The Flopcast on Instagram! The Flopcast on Twitter! Please rate and review The Flopcast on Apple Podcasts! Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! This week's promo: ESO Network Patreon! Robolar from Mars!

Voted Britain's Worst Movie Ever (by some blokes who must not have a very deep pool to chose from) Carry On Columbus becomes our first foray into the Carry On franchise. I think we can all agree; it's funnier than ACTUAL Columbus. We've entered into this in a very unconventional way. We imagine most viewers of the Carry On franchise have a few of their higher quality films under their belt before watching this - which is obviously going to be inferior. So likely, in those viewing specifications will lead many to absolutely loathe this movie. We don't fall into that camp. This ONLY made us to want to watch even more Carry On. Because if this is the worst, well the others have gotta be pretty good. Sure, it's corny. Sure, it's got some groaners. But there's some generally funny jokes in this. I'd say we laughed out loud about 10 times, which is pretty damn solid. Consider such ducks that we crap out in the US, looking at you Tom Green and Eddie Murphy. When it comes to bad comedy we hold the world crown here in the US. Britain, you need to start making much crappier films before you can start thinking Carry On Columbus is true garbage. Don't expect Caddyshack. Don't even expect Caddyshack II. But this is FAR from Pluto Nash. Despite it's gawdawful reputation we still think this is a good time and worth a watch - start with this one. You'll only want more Carry On.

Longtime friends of the Flopcast Brittany and Martha are back this week, as we officially announce that their podcast But First, Let's Talk Nerdy is now part of the ESO Network! We catch up on life in Las Vegas during the pandemic (Kevin escaped just in time), some of their recent nerdy show topics (like Sailor Moon, Cowboy Bebop, Riverdale, and James Bond), and the art of podcasting while tipsy (they need a sponsorship deal with White Claw). Be sure to check out But First, Let's Talk Nerdy, and welcome Brittany and Martha to our weird little ESO family! Also: We recommend online shows from Speak Up and Niki Luparelli, we still love Atari 2600 Asteroids, we remember comic book writer Denny O'Neil, and we're seriously considering watching Caddyshack II. Please, somebody stop us. The Flopcast website The ESO Network The Flopcast on Facebook The Flopcast on Instagram The Flopcast on Twitter Please rate and review The Flopcast on Apple Podcasts Email: info@flopcast.net Our music is by The Sponge Awareness Foundation! But First, Let's Talk Nerdy Good Enough Cosplay Speak Up Storytelling Niki Luparelli This week's promo: But First, Let's Talk Nerdy!  

Gilbert and Frank welcome Grammy and Emmy-winning singer-songwriter Kenny Loggins for a revealing conversation about the rewards of collaboration, the mystery of the creative process, the challenges of penning songs for movies like "Top Gun" and "Footloose" and his "accidental" partnership with writer-producer Jim Messina. Also, Kenny auditions for "Hair," mimics Bob Dylan (and Tina Turner!) steers clear of the disco era and teams with Richard Marx, Stevie Nicks and Michael McDonald. PLUS: Stealer's Wheel! The genius of Clive Davis! Rick Cowling sits in! Gilbert auditions for "Caddyshack II"! And Kenny (and Gilbert) guest star on "Family Guy"! Learn more about your ad choices. Visit megaphone.fm/adchoices

  This week we continue our chat with acclaimed Director, Allan Arkush (Rock n Roll High School) about his long-standing career in Film and Television. Allan walks us through his career from his beginnings as a film student under the tutelage of Martin Scorcese, his break cutting trailers for Roger Corman, to being one of the most sought after and acclaimed television Directors/Producers. Allan speaks candidly about his film and TV-ography and what he deems as his successes and failures. This is not to be missed for lovers of television, film and aspiring directors producers.     Film & TV Referenced during episode IT’S NOT JUST YOU MURRAY (1964) - Martin Scorcese WHO’S THAT KNOCKING AT MY DOOR (1964) - Martin Scorcese SHOCK CORRIDOR (1963) - Sam Fuller REAR WINDOW (1954) - Alfred Hitchcock THE SEARCHERS (1956)  THE BAND WAGON (1953) JOHNNY GUITAR (1954) THE BIG HEAT (1953) FORCE OF EVIL (1948) THE KILLERS (1964) - Angie Dickinson NORTH BY NORTHWEST (1959) RIO BRAVO (1959) THE HORSE SOLDIERS (1959) SNOW WHITE (1937) PETER PAN (1953) THE MOVIE ORGY(1968) CAGED HEAT (1974) DEATH RACE 2000 (1975) BIG BAD MAMA (1974) CRAZY MAMA (1975) FIGHTING MAD (1976) SMALL CHANGE (1976)  AMARCORD (1973) HOLLYWOOD BOULEVARD (1976) CORMANS WORLD (2011) HEART BEEPS (1981) GET CRAZY (1983) SUMMER (PILOT) MASH (1972) ROUTE 66 (1960-64) THE MAN FROM UNCLE (1964) EASTSIDE WESTSIDE FAME (1982) ST ELSEWHERE (1982) HILL ST BLUES (1981) MOONLIGHTING (1985) CADDYSHACK II (1988) SHANNON’S DEAL (1990) SHAKE RATTLE & ROCK (1994) YOUNG AT HEART (1995) XXX’S & OOO’S (1994)  

  This week we speak to acclaimed Director, Allan Arkush (Rock n Roll High School) about his long-standing career in Film and Television. Allan walks us through his career from his beginnings as a film student under the tutelage of Martin Scorcese, his break cutting trailers for Roger Corman, to being one of the most sought after and acclaimed television Directors/Producers. Allan speaks candidly about his film and TV-ography and what he deems as his successes and failures. This is not to be missed for lovers of television, film and aspiring directors producers.     Film & TV Referenced during episode IT’S NOT JUST YOU MURRAY (1964) - Martin Scorcese WHO’S THAT KNOCKING AT MY DOOR (1964) - Martin Scorcese SHOCK CORRIDOR (1963) - Sam Fuller REAR WINDOW (1954) - Alfred Hitchcock THE SEARCHERS (1956)  THE BAND WAGON (1953) JOHNNY GUITAR (1954) THE BIG HEAT (1953) FORCE OF EVIL (1948) THE KILLERS (1964) - Angie Dickinson NORTH BY NORTHWEST (1959) RIO BRAVO (1959) THE HORSE SOLDIERS (1959) SNOW WHITE (1937) PETER PAN (1953) THE MOVIE ORGY(1968) CAGED HEAT (1974) DEATH RACE 2000 (1975) BIG BAD MAMA (1974) CRAZY MAMA (1975) FIGHTING MAD (1976) SMALL CHANGE (1976)  AMARCORD (1973) HOLLYWOOD BOULEVARD (1976) CORMANS WORLD (2011) HEART BEEPS (1981) GET CRAZY (1983) SUMMER (PILOT) MASH (1972) ROUTE 66 (1960-64) THE MAN FROM UNCLE (1964) EASTSIDE WESTSIDE FAME (1982) ST ELSEWHERE (1982) HILL ST BLUES (1981) MOONLIGHTING (1985) CADDYSHACK II (1988) SHANNON’S DEAL (1990) SHAKE RATTLE & ROCK (1994) YOUNG AT HEART (1995) XXX’S & OOO’S (1994)    

Is CADDYSHACK II better than the original CADDYSHACK?! Film critics William Bibbiani and Witney Seibold defend a film many call indefensible in the latest episode, and they pair it with one of the most celebrated movies ever made… Jean Renoir’s 1939 masterpiece, THE RULES OF THE GAME!Join film critics William Bibbiani and Witney Seibold as they show you the place where good taste and bad taste collide, every week on THE TWO-SHOT! Email us at letters(a)criticallyacclaimed.net, follow your hosts on Twitter at @WilliamBibbiani and @WitneySeibold, and follow the podcast/website at @CriticAcclaim to vote for the notorious movies YOU want us to review!Check out our website at www.criticallyacclaimed.net and head on over to www.patreon.com/criticacclaim to contribute to the show and get even more exclusive content!

Andrew and Dave ditch 1930s era New York for '80s era Berlin in the latest Films(trips)! This time out, the duo take a look at Wim Wenders' 1987 masterpiece, WINGS OF DESIRE. How much love will the pair show this classic of international cinema? Where does Peter Falk fit into things? And how the hell does CADDYSHACK II even come up in this conversation? Tune in and find out! Next Episode: Andrew and Dave may not be able to bring the Beatles back to Hamburg, but they can probably swing getting Donnie Iris to show up at the Dresden, Ontario fair. All music by Andrew Kannegeisser. Editing by Dave Babbitt

On this week’s episode, the shack is back and–spoiler alert!–it’s whack! We discuss 1988’s much-maligned comedy sequel CADDYSHACK II, a movie so bad that co-host Luke literally fled the country to avoid it. Sucker. Who would want to miss seeing a talking, wine-swilling gopher puppet? So if you ever thought, “Hey, wouldn’t it be cool … Continue reading Ep. #21-Caddyshack II →

The world demanded it, so here is the launch of our coverage of the classic film Caddyshack II, a film worthy of its fancy roman numeral. (Sadly and inexplicably, no one has made a trivia game for Caddyshack II.) Join the snobatorium at www.patreon.com/DitchDiggers  Facebook: www.facebook.com/caddyshackminutepod  Twitter: @CaddyshackMin www.caddyshackminute.com

We have finally broken into the ranks of those rich podcasters and gotten a sponsor! No, not really.  We  would love to have you  on as a sponsor if you would like, but we doubt McDonald's will be that sponsor.  Especially after they hear the stories in this episode. Plus! Permanent Guest Geek Matt, Ron, Ryan, and Scott go over their Core 4 quotable movies. Plus, the sad, sad story of Caddyshack II... This episode of D4G was recorded 11/20/14 at Zachry's Seafood and Steak in Brunswick, GA.

In this episode: Chiller Theatre October Recap with Lanza, Tim Curry, the dudes from Summer School, Natasha Henstridge, The Warriors, Martin Landau, Nancy Allen, Kristin Bauer not smiling, Megan Cavanagh surprised by Patrick Stewart's fan behavior, a grouchy Mark Margolis, Sonny "Enos" Shroyer, jacked Sasha Mitchell from Step by Step, Marsha Warfield from Caddyshack II, Lassies' Jon Provost, and Class flips out after discovering he paid for a Tyler Labine photo twice. 53 minutes - http://www.paunchstevenson.com

Caddyshack 2: the sequel that repeats many of the same beats as the original. Jack (Jackie Mason), self made millionaire apply for membership at Bushwood, the club from the first movie. with special appearance by Chevy Chase and Dan Akyroyd. the famous gopher returns and overstays his welcome.  

Oh my fucking GOD THIS MOVIE. This is absolutely the last time I force Chis to watch a terrible movie as punishment. I don't even know where to begin with this one. They replaced the entire cast with their B (or in most cases, F class) equivalent actor. If you want to sit through 85 minutes of Jackie Mason then this is the movie for you...although I think a good bludgeoning to the skull might well be more appropriate. Sit back and enjoy us talking about a movie so terrible that none of us would wish it upon our worst enemies!

Due to technical difficulties Chynna couldn't call in. We are rescheduling her and will let her fans know via our website: www.take2radio.com and on twitter @take2radio   Thank you for your understanding.    Wife, mom, singer, songwriter, actress, and philanthropist Chynna Phillips was born to musicians John and Michelle Phillips of famed 60's group The Mamas and The Papas. Chynna began her acting career in John Hughes' teen-sensation Some Kind of Wonderful. She followed up with roles in Caddyshack II, Say Anything, and also played the character Roxanne Pulitzer in the 1989 TV biopic Roxanne: The Prize Pulitzer. During this time, Chynna, along with childhood friends Carnie & Wendy Wilson, formed the trio Wilson Phillips. In 1990, the group released their self-titled debut album which went on to sell ten million copies worldwide, went multi-platinum, and had three number one singles. In 1992, Billboard declared them the best selling female group of all time, breaking the record previously held by Motown's The Supremes. Wilson Phillips was nominated for 5 Grammy Awards, an American Music Award, and won a Billboard Music Award (for songs "Hold On" and "Release Me", which were also written by Phillips). She drops by to chat on Tuesday, January 22, at 7pm EST, to discuss her latest project & tour. 

Today, we regale you with our journey to the time warp that is the Sears Portrait Studio, offer up some Miley Cyrus nudes, go to SPAAAAAAACCCCCEEEEEE (our own personal Caddyshack II), talk about a most interesting weirdo we met at a restaurant, make fun of dumb furries, examine Hanna-Barbera's foray into live-action films, talk about bangin' celebs, and discuss losing the big V. Starring Scott Bromley, Brian Altano, Anthony Gallegos, Ryan Scott, and Max Scoville.

The copy of a copy is never that good. Jay and Anna review Caddyshack II (1988).